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PPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS 


n This Issue: 


J&1c/ITC 

Vith this issue, the editors are pleased to announce 

Call for Entries for the First Annual U&lc/ITC 
International Typographics Competition). This is a free 
ompetition, with no fees attached, to attract the most 
utstanding examples of typographic design, created 
nywhere in the world, in which ITC typefaces have been 
sed. Winners will be featured in a special future issue. 
‘ull details within. 


jerome Snyder's Invoices 

\lmost everyone has seen an invoice at one time or 
nother—as dull and unimaginative as it can be. Well, 
omeone did something about that and decided to 
lustrate his bills and the reasons for them. What started 
ut as a simple cover-up for lack of fancy stationery went 
long way and, as Snyder puts it, “like Topsy, it just grew’ 
{erein, a random sampling of invoices that have brought 
erry Snyder encomiums, accolades and, more to the 
yoint, Money. 


etterforms, Signs, and Symbols 

he First ATyp.I. Working Seminar was held during a 

ull work week at Basel, Switzerland, in conjunction with 
he Allgemeine Gewerbeschule School of Design. Lead- 
ng international figures from all over the world partici- 
ated in a variety of problems related to visual 
ommunications. U&lc presents a capsule report of the 
nany-faceted goings-on. 


fietamorphical typography 

Nebster’s dictionary defines metamorphosis as a “change 
»f form, structure, or substance; a striking alteration in 
\ppearance, character, or circumstances.’ Herb Lubalin 
resents some striking typographical examples which 
rove that one title, or even a single letter of the alpha- 
et, can (when artistically conceived) be worth a thousand 
victures. 


An Exchange of Amenities: Helmut Krone 

\ handsome double-spread of some of the Helmut 
<rone Audi ads, with a playback of words between 
<rone and Herb Lubalin on how and how not Avant 
3arde Gothic should be used—along with some extra 
houghts by the Doyle Dane designer on why he lets 
1imself be so obsessed with typography. Foxy. 


Nature’s Alphabet 

lype books, however essential, are not the only source 
or letters of the alphabet. A marvelous backdrop for 
ypography is nature itself —as evidenced in the imagina- 
ive alphabet assembled by a student of renowned 
Jesigner Ivan Chermayeff as an assignment designed 

o capture by photograph forms every letter in the 
Iphabet from A to Z. 


something For Everybody 

\ little of this, a little of that. Typographical tidbits that 
ve hope will entertain, amuse, inform, and pique the 
uriosity. 

Mis. Carol Anthony (&) Friends 

The third in our popular new series of pages devoted 
o the talented women in communications —among 
vhom Carol stands at the head of the list. Proof of the 
sudding: the uncommon and delightful little people of 
1er extraordinary creation. Three-dimensional language 
hat’s a graphic sight for any eyes. 


rhe One Show Finalists 

it’s that time of year when the One Show—covering 
avery field of endeavor in advertising and the graphic 
arts —is presented to the industry Herein, U&lc offers an 
advance sampling from worldwide submissions of more 
than 11,000. From these finalists, gold and silver honors 
are to be awarded in the various categories. 


PAGE 6 


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PAGE 18 


Of) 


7 PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME TWO, NUMBER TWO JUNE, 1975. 


Letterforms, Signs,and Symbols: 
The First ATYPI. Working Seminar 


(EEL | SiS > ee ee es ee a ee SS Sa 
Ideas won't stay banned. They won’t burn. They won't 
go to jail. In the long run of history, the censor and the 
inquisitor have always lost. The only sure weapon 


against bad ideas is better ideas. | 


It was with these words of Whitney Griswold in mind 
that the first ATyp.I. Working Seminar on “Education in 
Letterform” was held at Basel, Switzerland, in conjunction 
with the Allgemeine Gewerbeschule School of Design. 

The primary objective was to promote an interna- 
tional exchange of professionally and educationally ori- 
ented ideas and to activate contact among students 
themselves as well as between students and teachers; to 
grasp, recognize, and explore solutions to problems of 
the present and possible future challenges on an inter- 
national basis. P tat 

Participating in the seminar were leading interna- 
tional figures — designers, educators, and students from 
all over the world actively involved in a variety of prob- 
lems related to visual communications with specific em- 
phasis on letterforms, signs, and symbols. 


The seminar, which took place 
during a full week of work at the 
Allgemeine Gewerbeschule 
School of Design (Basel College), 
was composed of three parts: 

1) Goals, Methods, and Programs 
of Teaching; 

2) Workshop (Group Work); 

3) Evening Lectures. 


1) Goals, Methods, and Programs 
of Teaching 


After a general introduction to the 
organization and structure of the 
Basel College, the seminar partici- 
pants were divided into language 
groups. . 

During four successive morn- 
ings, they were familiarized with 
the various courses offered at the 
school. Courses dealt with such 
diverse subjects as letterform de- 
sign, typography, and film graphics 
—as well as with the design of 
signs and symbols treated photo- 
graphically, spatially, and in color. 

The seminar participants had an 
opportunity to discuss school 
programs thoroughly with stu- 
dents and teachers and, on the 
fifth morning, an all-encompassing 
discussion took place during 
which questions about educa- 
tional goals, methods, and pro- 
grams were treated, with 


well-known representatives of 
various schools participating. 


2) Workshop (Group Work) 

Each registered participant was 
entitled to enroll in one of four 
workshop groups— each group 
headed by an internationally- 
recognized designer experienced 
in the field of education. 

Specific work themes were ar- 
ranged and prepared by the group 
leaders, with these themes pre- 
sented and explained to the entire 
seminar audience before actual 
work began. 

During five afternoon periods, 
each group worked on its own 
specific problem. Together with 
the group leader, students held 
discussions, conducted research, 
and worked out possible solutions. 

At the close of the workshop 
seminar, the various workshop 
groups presented their findings 
to the total audience during a 
forum discussion. 

3) Evening Lectures 

Each evening, internationally- 
known designers and masters of 
their craft reported on current 
problems in education and design, 
particularly those related to visual 
communications —to letterforms, 
signs, and symbols. 


CONTINUED ON PAGE 6 


VOLUME 2, NUMBER 2, 1975 


HERB LUBALIN, EDITORIAL & DESIGN DIRECTOR 

AARON BURNS, EDITORIAL DIRECTOR 

EDWARD RONDTHALER, EDITORIAL DIRECTOR 

JACK ANSON FINKE, ASSOCIATE EDITOR 

JAN McKAY, ANNA McCUSKER, JOE SUNDWALL, TONY DISPIGNA 
ART & PRODUCTION EDITORS 

JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER 


©1975 AND PUBLISHED FOUR TIMESA 

YEAR IN MARCH, JUNE, OCTOBER AND DECEMBER 

BY INTERNATIONAL TYPEFACE CORPORATION 

216 EAST 45TH STREET, NEW YORK, N.Y. 10017 

AJOINTLY OWNED SUBSIDIARY OF 

PHOTO LETTERING, INC. AND LUBALIN, BURNS & CO. INC. 
CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK; 
N.Y. AND APPLICATION TO MAIL AT CONTROLLED 
CIRCULATION RATES IS PENDING AT FARMINGDALE. N.Y. 


BOARD OF DIRECTORS: 

EDWARD RONDTHALER, CHAIRMAN 

AARON BURNS, PRESIDENT 

HERB LUBALIN, EXECUTIVE VICE PRESIDENT 

JOHN PRENTKI, VICE PRESIDENT, GENERAL MANAGER 
BOB FARBER, SENIOR VICE PRESIDENT 

ED BENGUIAT, VICE PRESIDENT 

STEPHEN KOPEC, VICE PRESIDENT 


U.S. SUBSCRIPTION TO INDIVIDUALS $6.00; SINGLE COPIES $1.50 
ELSEWHERE SUBSCRIPTION, $8.00, SINGLE COPIES $2.50 


Editorial: 


U&lc could not be published or mailed without the support of the com- 
panies listed below, which are the sole manufacturers of ITC authorized 
typefaces. 


Unfortunately, similar typefaces under the same or other names are 
being sold or contact-copied by unauthorized companies—companies 
which choose to appropriate ITC typeface designs without proper 
license agreements that protect type designers’ royalties and manufac- 
turers’ investments. 


For this reason, if you enjoy reading U&lc and wish to support its con- 
tinued growth, we ask that when you desire or require the use of ITC 
typeface designs you confirm that the transfer sheet, the headline or the 
typesetting you purchase has been produced from products manufac- 
tured by an ITC Subscriber. Thank you. The Editors. 


U&Lc- 


THE FIRST ANNUAL 
UPPER & LOWER CASE 
INTERNATIONAL 
TYPOGRAPHICS 


ITC 


SUBSCRIBERS 


ADDRESSOGRAPH MULTIGRAPH 
CORPORATION 

VARITYPER DIVISION 

11 MT. PLEASANT AVENUE 

EAST HANOVER, NJ. 07936 

(201) 887-8000 
PHOTOTYPESETTE 
PHOTOLETTERING SYS’ 


ALPHATYPE CORPORATION 

7500 MCCORMICK BOULEVARD 

SKOKIE, ILLINOIS 60076 

(312) 675-7210 

ALPHATYPE PHOTOTYPESETTING SYSTEMS 


“AMERICAN TYPE FOUNDERS CO., INC. 
200 ELMORA AVENUE 

ELIZABETH, NJ. 07207 

(201) 35301000 

TYPE DIVISION 


ARTYPE, INC. 

345 EAST TERRA COTTA AVENUE 
CRYSTAL LAKE, ILLINOIS 60014 
(815) 459-6220 

DRY TRANSFER LETTERS 


AUTOLOGIC, INC. 

9119 DE SOTO AVENUE 
CHATSWORTH, CALIFORNIA 91311 
(213) 882-6400 

APS-4-CRT PHOTOTYPESETTER 
AND TYPESETTING SYSTEMS 


H. BERTHOLD AG 

1000 BERLIN 61 

MEHRINGDAMM 43 

GERMANY 

(0311)692011 

DIATYPE, DIATRONIC, STAROMAT, 
STARSETTOGRAPH, SUPERSTAR 


J. BOBST ET FILS SA 

BOBST GRAPHIC PHOTOTYPESETTING DIVISION 
CH-1001 LAUSANNE 

SWITZERLAND 

021-35 05 21 

EUROCAT 


DR. BOGER PHOTOSATZ GMBH 
8 WEDEL IN HOLSTEIN 

RISSENER STRASSE 94 

GERMANY 

(04103) 6021-25 

MANUFACTURER OF COPYTYPE 
AND VISUTEK PHOTOLETTERING 
SYSTEMS AND FONTS 


CELLO-TAK MFG., INC. 

35 ALABAMA AVENUE 
ISLAND PARK, LL, N.Y. 11558 
(516) 431-7733 

DRY TRANSFER LETTERS 


CHARTPAK 

ONE RIVER ROAD 
LEEDS, MASS. 01053 
(413) 584-5446 

DRY TRANSFER LETTERS 


COMPUGRAPHIC CORPORATION 
66 CONCORD STREET 

WILMINGTON, MASS. 01887 

(617) 944-6555 

PHOTO TEXT AND DISPLAY 
COMPOSITION SYSTEMS 


DEANS GEOGRAPBICS LID. 
1110 SEYMOUR STREET 
VANCOUVER, B.C. CANADA 
(604) 685-8236 

DRY TRANSFER LETTERS 


DYMO BELGIUM N.V. 
P.O. BOX 35 

ST-NIKLAAS (B2700) 
BELGIUM 

(03 76) 6980 10 1 

VISUAL SYSTEMS DIVISION 


DYMO GRAPHIC SYSTEMS, INC. 
355 MIDDLESEX AVENUE 
WILMINGTON, MASS. 01887 

(617) 933-7000 
PHOTOTYPESETTING EQUIPMENT 
FILM STRIPS AND DISCS 


FACSIMILE FONTS 

15450 EAST VALLEY BLVD. 

CITY OF INDUSTRY, CALIF. 91746 
(213) 333-2600 

FILM BANDS FOR STAROMAT, 
STARSETTOGRAPH 


FILMOTYPE 

7500 MCCORMICK BOULEVARD 
SKOKIE, ILLINOIS 60076 

(312) 675-7210 

FILM FONTS 


ITC typefaces not available at this time. 


HARRI6 CORPORATION 
HARRIS COMPOSITION 
SYSTEMS DIVISIONS 
P.O. BOX 2080 
MELBOURNE, FLORIDA 32901 

(305) 727-6916 

FOTOTRONIC TXT, FOTOTRONIC 1200 
FOTOTRONIC 600 


LETRASET INTERNATIONAL LIMITED 
ST. GEORGE'S HOUSE 

195/203 WATERLOO ROAD 

LONDON SE1 8XJ 

ENGLAND 

(01) 928-0488 

DRY TRANSFER LETTERS 


DRY TRANSFER LETTERS 


MERGENTHALER LINOTYPE COMPANY 
MERGENTHALER DRIVE 

PLAINVIEW, N.Y. 11803 

(516) 694-1300 

LINOFILM, LINOTRON, LINOCOMP, VIP 


MGD GRAPHIC SYSTEMS 
ROCKWELL INTERNATIONAL 

2735 CURTISS STREET 

DOWNERS GROVE, ILLINOIS 60515 
(312) 963-4600 

INFORMATION PRODUCTS DIVISION 


3M COMPANY 

3M CENTER 

ST. PAUL, MINN, 55701 
(612) 733-1110 
PROMAT COMPOSITION 


THE MONOTYPE CORPORATION LIMITED 
SALFORDS, REDHILL 

SURREY, ENGLAND 

REDHILL 6 5959 

MONOPHOTO FILMSETTERS 

MONOTYPE STUDIO-LETTERING AND 
PHOTOLETTERING MACHINES 


PHOTOVISION OF CALIFORNIA, INC. 
8540. WEST WASHINGTON BLVD. 

CULVER CITY, CALIF. 90230 

(213) 870-4828 

SPECTRA SETTER 1200 

VISUAL DISPLAY SETTER AND 

2" FILM FONTS 


PRESSURE GRAPHICS, INC. 
1725 ARMITAGE COURT 
ADDISON, ILL. 60101 

(312) 620-6900. 

DRY TRANSFER LETTERS 


PROTYPE, INC. 

89 WEST 38RD STREET 

NEW YORK, N.Y. 10012 

(212) 673-7944 

DISPLAY PHOTOTYPESETTING 
SYSTEMS AND FILM FONTS 


JOHN N. SCHAEDLER, INC. 

404 PARK AVENUE SOUTH 

NEW YORK, NEW YORK 10016 

(212) 684-5140 

ALPHABET DESIGNERS AND 
MANUFACTURERS OF 2” FILM FONTS. 


“D. STEMPEL AG 
HEDDERICHSTRASSE 106-114 
FRANKFURT AM MAIN-SUD 
GERMANY 
(0611) 6068-1 
TYPE DIVISION 


TACTYPE, INC. 
43 WEST 16TH STREET 
NEW YORK, N.Y°10011 
(212) 924-1800 

DRY TRANSFER LETTERS 


TECHNOGRAPHICS/FILM FONTS 
8540 WEST WASHINGTON BLVD. 
CULVER CITY, CALI. 90230. 

(213) 870-4828 

FILM FONTS AND STUDIO 

FILM KITS 


VISI-GRAPHICS 

8119 CENTRAL AVENUE 
WASHINGTON, D.C. 20027 
(301) 336-1144 

DRY TRANSFER LETTERS 


VISUAL GRAPHICS CORPORATION 
5701 N.W. 94TH AVENUE 

TAMARAC, FLORIDA 33321 

(305 ) 722-3000 

MANUFACTURER OF 

PHOTO TYPOSITOR AND 

ORIGINAL TYPOSITOR 

FILM FONTS 


ZIPATONE, INC, 
150 FENCL LANE 
HILLSIDE, ILLINOIS 60162 


(312) 449-5500 
DRY TRANSFER LETTERS 


COMPETITION 


NO ENTRY FEES 
NO HANGING FEES 


Since the first issue, readers of U&lc 
have been repeatedly exposed to ITC 
typefaces through their use in the edito- 
rial pages of our publication. Now itis 
your turn. The editors of U&le would like 
to feature in a special issue aselection of 
some of the most outstanding examples 
of typographic design, produced any- 
where in the world, in which ITC type- 
faces have been used or featured—by its 
readers. 

Thus, this Call for Entries for the 
First Annual U&lc/ITC (International 
Typographics Competition). 


Who Can Enter: 


Anyone, student or professional, from 
anywhere in the world may submit 
entries to U&lc/ITC, except employees 
of ITC, U&lc, or designers of ITC type- 
faces. 

There are no entry fees. There are no 
hanging fees. This is a free competition. 

There is, however, one restriction to 
enter U&lc/ITC. The certification that, 
to the best of your knowledge, all ITC 
typefaces used were produced from type 
products manufactured by authorized 
ITC Subscribers. 


Qualifications for Submission: 


1. Any work produced since the forma- 
tion of ITC in 1970 is eligible for submis- 
sion. 

2. All entries must be designed with ITC 
typefaces. 

%. Entries need not be printed samples; 
they may, in fact, be entries prepared 
especially for submission to U&lc/ITC. 
4. Entries cannot be returned. (Do not 
submit original art. ) 


Categories: 


I PRINT ADVERTISING 
TYPOGRAPHIES.. 


(a) Newspaper 
(b) Magazine 
(c) Trade Advertising 


It FILMAND TV TYPOGRAPHICS 


Itt EDITORIAL TYPOGRAPHICS 


(a) Consumer and Trade Magazines 
(b) Company House Publications” 
(c) Annual Reports 


IV CORPORATE TYPOGRAPHICS 

(a) Logos 

(b) Trademarks 

(c) Symbols 

(d) Stationery and Forms (Letterheads) 


V PROMOTIONAL TYPOGRAPHICS 


(a) Greeting Cards 

(b) Announcements 

(c) Posters 

(d) Fliers, Brochures, Catalogs 


VI POINT-OF-SALE TYPOGRAPHICS 


(a) Books and Book Jackets 
(b) Record Album Covers 
(c) Point-of-Purchase Displays 


VII PACKAGING TYPOGRAPHICS 


(b) Exhibition Booths 
(c) Displays 


IX EXPERIMENTAL TYPOGRAPHICS 


Unpublished works in any of the above 
categories. 


The best of each category will be fea- 
tured in the December issue of U&lc 
1975, together with photographs and 
biographies of each award-winning 


designer. Four additional runner-up 
finalists in each category will also be 
selected and shown in this issue of U&lc. 
The entire exhibition will become 
part ofa traveling show which will be 
available on loan throughout the world. 


FAT AAS TE 
Vuury: 

An outstanding panel ofjudges will be 
selected to serve as the jury for U&lc/ 

ITC. The names of the judges will be 
announced in the September issue of 
U&lc. No employees of ITC, U&le, or 
designers of ITC typefaces will be eligi- 
ble to serve as judges. 

ERA AP GS UT NA NS RP PL EARS 


Entry Form Information: 


The following information must be 
clearly printed or typed and affixed 
firmly to the back of each entry (we 
suggest that you duplicate this form for 
each entry): 


(a) Name of Entrant (Designer and/or 
| Art Director) 


(b) Name of Client or Company 


“(e) Street,, - City, 
: State, Zip Code, Country 
| (d) Category 


| (ec) Name of Typeface(s) used 


| (f) Name of Typographer (Typesetter) 


' (g) Name of Typesetting Equipment or 
' Type Process used 


(h) Any Special Remarks: Headline or | 
. Title of Entry ' 


‘| (i) To the best of my knowledge, all ' 


| ITCtypefaces used were produced 
‘ from type products manufactured 


Deadline for Entries: 


September 30, 1975 

All entries should be addressed to: 
U&LC/ITC 

c/o International Typeface 
Corporation 

216 Rast 45th Street 

New York, New York 10017 


| 


AKI LUNES 
American Typewriter Light 


American Typewriter Medium 


American Typewriter Bold 
American Typewriter Light Condensed 


American Typewriter Medium Condensed 


American Typewriter Bold Condensed 


American typewriter Bold Outline 


Avant Garde Gothic x Light 
Avant Garde Gothic Book 
Avant Garde Gothic Medium 
Avant Garde Gothic Demi 
Avant Garde Gothic Bold 
Avant Garde Gothic Book Cond. 
Avant Garde Gothic Med.Cond. 
Avant Garde Gothic Demi Cond. 
Avant Garde Gothic Bold Cond. 
Bernase Roman 

Bolt Bold 

LSC Book RegularRoman 
LSC Book Bold Roman 
LSC Book X-Bold Roman 
LSC Book Regular Italic 
LSC Book Bold Italic 

LSC Book X-Bold Italic 
BUSORANA LIGHT 

BUSORAMA MEDIUM 
BUSORAMA BOLD 

Caslon Headline 

Caslon Light 223 

Caslon Regular 223 

Caslon Bold 223 

Caslon X Bold 223 

Caslon Light 223 Italic 
Caslon Regular 223 Italic 
Caslon Bold 223 Italic 


Caston X Bold 223 Italic 
LSC Condensed 

LSC Condensed Italie 

Didi 

FalFace 

Firenze 

Friz Quadrata 

Friz Quadrata Bold 
Gorilla 

Grizzly 

Grouch 

Honda 

Korinna 

Korinna Bold 
Korinna Extra Bold 
Korinna Heavy 
Korinna Bold Outline 


_ Lubalin Graph Extra Light 


Lubalin Graph Book 
Lubalin Graph Medium 
Lubalin Graph Demi 
Lubalin Graph Bold 
§8¢ Manhattan 

L&C Stymie Hairline 
MACHINE 

MACHINE BOLD 

Milano Roman 

NEON 

Newtext Light 
Newtext Book 
Newtext Regular 
Newtext Demi 
Newtext Light Italic 
Newtext Book Italic 
Newtext Regular Italic 
Newtext Demi Italic 


; ITC Typefaces Eligible for U&LC/ITC 


PIONEER) 

Rondo Light 

Ronda 

Ronda Bold 

Serif Gothic Light 

Serif Gothic 

Serif Gothic Bold 

Serif Gothic Extre Bold 
Serif Gothic Hesvy 

Serif Gothic Bleck 

Gothic Bold Outline 
ITC Souvenir Light 

ITC Souvenir Medium 
ITC Souvenir Demi 

ITC Souvenir Bold 

ITC Souvenir Light Italic 
ITC Souvenir Medium Italic 
ITC Souvenir Demi Italic 
ITC Souvenir Bold Italic 
Tiffany Light 

Tiffany Medium 

Tiffany Demi 

Tiffany Heavy 

Tom's Roman 

Upright Neon 

Uptight Regular 


ee ee ate EE ae”) 


In our work now-paid later soci- 
ety, billing is a necessity. Neces- 
sity we’ve been led to believe is 
the mother of invention: I’m 


never quite clear who the father 


9 is—but that’s just a matter of 
male chauvinist priggery. In 
light of an unsatisfactory answer 
we'll leave the belief on its origi- 
nal immaculate level. The sur- 
rounding artifacts rescued from 
various commercial exchanges 
are evidence that “great ideas” 
come about by a process consid- 


erably less auspicious than a 
“leap of the mind.” The spur 
behind these bills was nothing 
more than that all too common 
need for the all too common 
wherewithal. In the primordial 
days of my life as an illustrator, 
such commonplace accoutre- 
ment as business stationery was . 
not yet part of my armamenta- 
rium. Yet there was the need to 
collect those assorted pittances 
for which I had mortgaged my 
labors. To be sure, I could have 
dispatched my dime store sta- 


oP) ef ie Me af tionery with a name and address 
ICSTAENESANE 
NEW YORK 10020 


— 
IRELAND 


dutifully typed at its top. On a few 
occasions that was my modus 
operandi. However, it was not 
long before the nagging demon 
that resides within every artist 
MITETONSL kept telling me that this was not 
eas ; | Me PES ie “comme il faut.’”’ At that point 
‘i AY pat xX my “‘Rosemary’s Baby” of an 
ee a |< = re illustrated bill was born full 
Poe if a ae > Fe blown. Why not illustrate the 
if 4% aie : reason for the bill? If nothing 
Pees oo erp ees else,it was a reasonably painless 
Actes Wy, eoeme ihe diversion for the uptown pan- 
ONL AS last Ht Ht : == jandrums and kept them from 
F ii i Ne wes Lf OO noticing that I didn’t have fancy 
2 Genel ritisg. files we A De stationery. A little diversion 
dihele ind, lietutine vo affisd tts He dnp” we obviously has gone a long way, 
poteline he cme ones | BR ee and like Topsy it just grew. 
ha spent: g a ft ues The expectation of an unortho- 
i ee dox bill has not evaporated now 
that I have official-type station- 
ery. Ifanything, the demand for 


ak 
a. Harry Deamoth Khe 10 : vs 
fud Ament ‘ta pasion Vi ‘he vault auf 


AWerHee. ia the M)sroRic Séries De Miuo less LALneUes Barusey MBM AMD His PERLE CheemrURes , INTHE ABEND EXBNNEE isp Act ety Bibhen) puree ‘Oars ‘ale 
Air ce a ahs comme 

OF The? LEMETHS To iich A RET? ALL GD 7 MRO Sabla STATS A Any BOWERS STAID PROCER EE 

FROM: J ome SNYDER 12) BAST 3 me Arena) Yale Coty 1O0K6 

(e BALIN St re COMIBSE 2.3 aT Mousyp Re feed @ 

Foe: 


dorks 
Cilig 
Tis 


THIS ARTICLE IS SET IN AMERICAN TYPEWRITER LIGHT CONDENSED 


ES ORVEN NUMiBee (019s. 
me. TO PeL 
LL STRING i bls POBPRS Opniowncan’ 


“TANT che Ae Matters UP oe 
I pptovir wh Cea: yolt 


an illustrated bill has increased, 
not that it has brought forth any 
clamor for my work. On the other 
charitable hand, the bills have 
acted as a subtle or perhaps not 
too subtle self-promotion device. 


We've now come full circle. 
Necessity has become the grand- 
mother of convention; but, it is 

_ the sort of duty that has not lost 
any of its pleasure for me. Those 
who receive the current bills, I 
trust, still share the innocent 
fun of my original sin. J.8. 


a 


oy x page Alar 57 BIO VILE 


ss 


_— == 


fo ce %) TaN AOS an Recs tdi 
me Se Mee LT eta 
7 2 oa Beak i: ri tt 
Simedrh * aE vigeatn fete 
Luff ; sige 


FROME Swi, 92 awe St. NY 


es? 
site That 
: gpl) us 37 is 


TO}PANTHEON BOOKS O/EAST.20 STREET 


ER 12! EAST S| STREET 
PRONE dEROME come ILLUSTRATION 


FOR: a r i Wail {a 

ON: MAY 22 1974 PAPAIN OFAN N (DER 

Beer . at (000 RE s T S| SRET 
ATT ARHOANOND Ee _7 New iORK pols 


2 REMEND wes 


World Ualty 
Priendally 


eB ow, 1207 
rai 


Pion 11S 
ETI 


S300 


AT 4350. PLUSBL Soe TOTAL 49122. NOESCRNARAL A STE RETURNED TO THE ARTIST 


6 THE ORGANIZATIONAL COMMITTEE: 
Aaron Burns, U.S.A. 
Nicolete Gray, England 
(Prost Bae Switzerland 
President 

Letterforms, Ernest Hoch, England 

Signs, Alfred Hoffmann, Switzerland 

and Symbols: (Financial Planner) 

The First Walter Jungkind, Canada 


(Vice-President) 


Christian Mengelt, Switzerland 


Niklaus Morgenthaler, Switzerland 
(Director, Basel College of Design) 
René Ponot, France 

Ralph Prins, The Netherlands 


Karl Schneider, Germany 
Michael Twyman, England 
Hans-Peter Willberg, Germany 


CONTINUED FROM PAGE 1 


The Workshop Themes: 


Four workshop themes were 
involved: 

Workshop | was conducted by 
Ivan Chermayeff of the United 
States and dealt with “The Devel- 
opment of Design Criteria for 
Symbols.’ In five afternoon ses- 
sions, some 25 participants, di- 
vided into smaller groups of 5 to 
8 each, discussed the ramifica- 
tions, hazards, and possibilities of 
three hypothetical problems — | 
each of which suggested that it 
could be solved through the use 
of symbols. This workshop con- 
cerned itself more with the process 
of design thinking rather than spe- 
cific solutions, and all the partici- 
pants came to understand that 
the development of good com- 
munications among the members 
of each small group was the main 
benefit of the workshop. 


Workshop II was in the hands 
of France’s Adrian Frutiger, whose 
subject was “Writing and Reading: 
an attempt to comprehend both 
concepts in their widest tech- 
nical and deepest psychological 
sense.’ The problem under exam- 
ination during the sessions of this 
workshop was formulated by the 
question: “With the historical and 
material development of writing, 
lettering — the vehicle of com- 
munication — has grown to em- 
brace a kind of esthetics all its own. 
And as a result of mass communi- 
cation, it is increasingly making 
its presence felt in the subcon- 
scious of readers. In terms of legi- 
bility and transmission of ideas, 
what do we today regard as ‘beau- 
tiful’ lettering?” Thus was brought 
to the group’s consideration one 
of the most important professional 
challenges of our generation. 


“Lettering in the Environment: 
the historical letterform as a de- 
parture point for new solutions in 
three-dimensional letter design” 
This was the theme of the work- 
shop run jointly by Nicelete Gray 
and Michael Twyman of England, 


Creativity within the Teaching 
Process: practical exercises in the © 
field of symbols:’ Discussion in 
this workshop focused on certain 
points connected with the theme 
“creativity in education,” with the 
participants dealing predominantly 
with the development of possible 
types of exercises. 


The Evening Lectures: 


Otl Aicher of Germany spoke 
on “Complications in the Develop- 
ment of a Worldwide Language’ 
According to Aicher, our present 
culture and civilization has clearly 
become so vast and complex that 
we cannot manage with only one 
kind of language. This means that 
we can no longer allow ourselves 
to operate with only a part of our 
perceptual capability and allow the 
rest to develop as it may. On the 
other hand, we must not regard 
a language of signs as a mere sub- 
stitute but rather as a further entry 
into our world. This is an indispens- 
able means of understanding and 
appreciating our surroundings. 
Aicher addressed his lecture to 
this absorbing challenge. 


FHK Henrion of England re- 
emphasized his favorite topic in 
his talk on “The Rules of the Game. 
Design problems: the necessary 
and logical criteria for the solu- 
tions:’ Design is being described 
lately as a problem-solving activity, 
whether it is in industrial, com- 
munication, or information design 
— or in any other design-related 
activity like architecture and town 
planning. It is important that, what- 
ever the design activity, one must 
be fully aware which rules of the 
game apply. It was Henrion’s view 
that rules help define such prob- 
lems, help solve them and, through 
prudent analysis, make many so- 
lutions possible. 


“Everyday Visual Sign Symbols 
in Historical Context” was what 
Werner Jehle of Switzerland chose 
to speak about. His premise: If 
the optical communications media 


who centered on the idea of making of the present are studied — par- 


use of the past as their particular 
contribution to the study of teach- 
ing methods — with the workshop 
planned as an exercise in the ex- 
change of ideas on such methods. 
Group leader for Workshop IV 

was Armin Hofmann of Switzer- 
land. His subject: “Method and 


THIS ARTICLE ISSETIN FRIZ QUADRATA 


ticularly in advertising —it can be 
seen that they make use of cul- 
tural codes arising from certain 
situations which apparently have 
little to do with what is being 
communicated. Advertisers over- 
lay the expected, literal meaning 
of their images with symbols of a 


secondary language that have 
been borrowed from history, re- 
ligion, or subconscious psychology. 
He demonstrated his theory with 
a variety of examples, among 
which were posters in which archi- 
tectural vocabulary was used 
ideologically and packages and 
advertisements in which heraldry 
and Christian iconography were 
infused. 

Herb Lubalin of the United 
States added a lighter touch to the 
proceedings. The substance of his 
talk emphasized his belief that the 
designer's obligation is, first, to his 
client and, second, to the public 
and, last, to himself. The function 
of communicators is to establish 
an image based on the personality 
of the client and his products and 
services, an effective image that 
will strike a responsive chord with 
the consumer and influence him to 
react. Many designers choose to 
superimpose their personalities 
over that of the client. Somewhat 
with tongue in cheek, Lubalin took 
exception to this even while 
agreeing with its validity. Follow- 
ing his introductory remarks, he 
showed a series of slides which 
included logotypes and applica- 
tions of letterform design. 

In his lecture on “Letterform 
Design and the Education of 
Letterform Design in the Age of 
Electronic Photosetting’ Alvin 
Eisenman of the United States 
stated that for over 25 years a 
technical revolution has been 
underway which is affecting type- 
founding and letterpress printing 
not only technically but econom- 
ically and artistically as well. He 
emphasized that we should ask 
ourselves especially what impli- 
cations this revolution has for the 
arts of letterform design and 
letter arrangement and should 
think carefully about the education 
of those who are about to enter 
this field. After examining several 
of the positive effects of the new 
technology on letterform design 
and typography and demonstrat- 
ing the influence of electronic and 
photo-mechanical methods of 
letter composition, Eisenman 
concluded his remarks with an 
optimistic glance towards the 
typographic possibilities that lie 
ahead and the wish that those 
who become involved with the 
letterforms will take advantage 


Plans forthe next working 
seminar are now in 
preparation. For further 
information, write to 
A.Typ.|., Working Seminar 
Committee, 6230 
Frankfurt/Main 80, 

- Kattowitzerstrasse 57, 
West Germany. 


of the future opportunities. 


Under the heading “Style and 
Lettering,’ Massin of France used 
as his focal point ‘The Architec- 
tonic Alphabet of Johann David 
Steingruber (1773)’ to underscore 
the historical period we call 
Baroque. According to Massin, 
our age is in search of a fusion of 
the arts, of a symbiosis of the 
means of expression too long con- 
sidered rival disciplines. Today, 

a graphic designer is not only in- 
debted to Baroque, but cannot 
ignore what has been anc is being 
created in such diverse fields as 
architecture, sculpture, and litera- 
ture; music, theater, and dance. 
The point was brought home to 
his audiencé that all of these are 
media which conform to a style 
and express themselves in the 
same way: through letterforms. 


Seminar Highlights: 


During the seminar week, on Tues- 
day evening, the Basel City Coun- 
cil invited the participants and 
organizers of the seminar, along 
with the assisting students, toa 
cocktail party in the City Hall. 
Guests were greeted by Eugene 
Keller, a member of the City 
Council, in the name of the city of 
Basel, wishing all an interesting 
and productive week. 


An official dinner followed the 
cocktail reception. By candlelight 
and in an exciting atmosphere, the 
guests, teachers, and students 
became better acquainted. During 
the dinner, a personal message 
from Charles Peignot, founder and 
former president of A-Typ.I., was 
read, wishing the working seminar 
every success. 


By Friday evening — after several 
refreshment pauses during the 
week to allow participants to 
intermingle and exchange ideas — 
the seminar had just about come 
to an end. It had been a demand- 
ing and an exhausting week for all, 
resulting from the numerous dis- 
cussions of difficult new profes- 
sional problems and from 
consideration of future technical 
challenges. But a Surprise Evening 
ofanunexpected streetcar ride into 
the unknown relieved these feel- 
ings and made way for lighter ones. 

Upon their arrival at the Haas 
Typefoundry in Munchenstein, the 
guests were dressed in smart 


blue Alpine herdsmen’s shirts, and 
what had been a diverse group of 
individuals from faraway places 
became a festive local community. 
The guests seemed to radiate joy 
as they entered the gaily deco- 
rated workrooms. Earlier in the day, 
the students had invited the par- 
ticipants to alphabet soup and 
bread — the bread having been 
specially ordered for the occasion 
to spell out the letters B-A-S-E-L. 
Now, crisp grilled sausages and 
delicious wire were served by the 
Haas personnel, blending pleas- 
antly with the familiar workshop 
atmosphere. An air of intimacy 
prevailed within the once-plain 
walls, now decorated with candles 
and letterforms. Adrian Frutiger 
said it for all: “The tones of Basel’s 
fifes and drums, so delightfully 
present, will echo in the memories 
of all of us for some time to come” 

In a plenary session on Saturday 
morning, the outcome of the 
working seminar was discussed, 
with each workshop leader stat- 
ing briefly his assignment and 
showing possible solutions which 
his particular group had worked on 
during the week. Direct contact 
with the workshop leaders and the 
opportunity to become familiar 
with their methods of instruction 
seemed certainly worthwhile. And 
the outcome was in many respects 
very informative. While Adrian 
Frutiger and Nicolete Gray and 
Michael Twyman proceeded sys- 
tematically, the seminar on the 
whole followed a pragmatic ap- 
proach —leaving the seminar par- 
ticipants to form their own 
conclusions. 

Perhaps the Organizational 
Committee summed it up best 
with its closing statement: 

“The seminar can certainly be 
evaluated as successful. In addi- 
tion to attending interesting lec- 
tures, the participants were able 
to work on practical problems 
and, together with the workshop 
leaders and the other members of 
the group, to contribute towards 
possible solutions. This manner of 
working together allowed optimal 
contact among the participants. 
The seminar program was a com- 
prehensive one that demanded 
alot from those taking part but, 
in spite of and because of this in- 
tensive manner of working, the 
results were clearly positive.” 


Ivan Chermayeff discussing a problem with a student group. 


“A simple solution is the only possible one. But 


simplicity does not mean visual simplicity. 
Individually distinctive marks, pictograms, or 
shapes are far easier to recognize and under- 
stand than repetitive forms containing subtle 
variations or color changes.’ 


Adrian Frutiger emphasizing a symbolic point. 


“The goal was to help make a group contribution 


to the problem of future digital-typeface pro- 
gramming. But the attainment of this goal pre- 
supposed an in-depth study of the history and 
psychology of reading and writing — essential 
information which first had to be ‘taught:” 


fe ae a ae 
Armin Hofmann stressing a point with his design group. 


“Today, creativity is more closely aligned with 
thoughts of new disclosures, of discovery; 
therefore, it must be taken into consideration 
that ‘creativity’ cannot be viewed as a precisely 
defined independent quantity, but rather as a 
concept related to a given function’ 


Alvin Eisenman discussing a technique with Michael Twyman. 


“The future hope of printing lies in the new 


miracles of film and electronic setting by which 
the whole art will be revolutionized, for good or 
for bad. If these new techniques only replace 
craftsmen by inhuman mechanism, they will 

fail. They will succeed if, by immeasurably in- 
creasing his resources, they reinstate the con- 
scious and unconscious powers of the human 
artist?’ 


Michael Twyman tackling a problem on the blackboard. 


“Finally we come back to the fundamental ques- 


tion: what are letters? Are they ideas in the 
mind? Are they historic or geometric forms? 
Are they drawn forms with a natural rhythm? Do 
we need to come to some agreement on these 
points before we can go further?” 


Herb Lubalin at the lectern emphasizing a point. 


“It’s easier for Europeans to use Helvetica It’s 


very difficult for Americans. We can appeal to 
big corporate executives with Helvetica and to 
stockholders who read annual reports, but for 
the great masses of Americans we cannot do 
that. There are over two thousand typefaces in 
the world for the masses, and then there is 
Helvetica. Helvetica is for designers, design 
students, design instructors, and a few intellec- 
tuals and clients, and for the population of 
Switzerland” 


PROBLEM ve 


Nicolete Gray addressing her workshop group. 


“We feel the fruits of our workshop lie in the 
future. We have raised ideas which seem quite 
new to many participants and which we hope 
may mature”’ 


Otl Aicher stressing his philosophy on the language of signs. 
“Psychology distinguishes among three kinds of 

language: the socio-congenital, the mimic, and 

the verbal—the language of inherited racial 

reflexes, the language of signs, and the language 

of words. The knowledge that there exists a 

language of signs in addition to one of words 

is as newas the realization that there are dif- 

ferent perceptual procedures”’ 


Public television is the 
literate alternative to com- 
mercial television. And 
these animated titles and 
logos (produced for PBS by 
the Lawrence K. Grossman 
Agency, with the design 
firm: Lubalin, Smith, 
Carnase, Inc. and animated 
by Edstan Studios ) effec- 
tively reflect that fact. 


The secret of LSCS craft lies 
in their imaginative and 
skillful use of typographic 


Metaphoricaltypography 


ae 
M oe 
vst 


y" | 


BLIC 


PU 
BROADCASTING 
SERVICE 


PUBLIC 
BROADCASTING 
SERVIGE=. 7, 


concepts to communicate 
meaning: the “P” that turns 
into the silhouette of every- 
man in the Public Broad- 
casting Service logo. The 
AS that animate into the 
masked faces portraying 
the kids’series Masquerade.’ 
The hypodermic needle that 
plunges into the T and Is 
on the drug series “The 
Turned on Crisis.” The sad- 
turned-funny face in the 
health series, Feeling Good.’ 
The timely clock hands, 
turning out of [s in the 
public affairs series, “Thirty 
Minutes With.” The 3-Dshow 
biz TV in Festival ’76. The 
stage curtain that emerges 
out of “Playhouse.” And the 
TV marquee designed from 
the OS in “Hollywood 
Television Theatre.” 


Its a case of one title, or 
sometimes even a single let- 
ter of the alphabet, being 
worth a thousand pictures. 


The commercial networks 
are addicted in their promo- 
tion spots to film or tape 
excerpts from the shows, or 
the use of trick technical 
effects (stars exploding for 
the new season; comptter 
graphics on sports shows; 
optical color tricks on spe- 
cials ). But here, for Public 
Television, the meaning and 


the drama are communi- 
cated clearly and effective- 
ly by having the title typog- 
raphy itself illustrate the 
nature of the show. 


Its’ a practical and econom 
ical solution as well, in 
view of the unavailability 
of pictures and footage for 
so many of Public Televi- — 
sions series. And it happens 
also to be a distinctively 
literate solution for the 
literate medium. 


Heart-pounding drama. Rib-tickling comedy 


ww 


Heart-pounding drama. Ril 
ning 


* 
* 
* * 
* * 
‘RHOUSEE: 
* : * 


TELEWISION 
THEATRE 


10 


I'm reminded of an old 
Utica Club Beer ad DDB 
once did. It showed the 
owner of this fine brewery. 
saying “Sometimes I won- 
der if it pays to make beer 
this way.” I often ask my- 
self that question when it 
comes to type in an ad. 
Type seems to be a disease 
with me. I have it set and 
then re-set by the best film 
setters in the business and 
then I consider what I get 


AN EXCHANGE OF AMENITIES 
BETWEEN THE DESIGNER OF “AVANT GARDE” 
AND AN AVANT GARDE DESIGNER 


mek = TUE OUICK 
Xx BY AUDI 


Bernbach”’ 

“Hi, Helmut Krone, 
please. Herb Lubalin 
calling’ 

“Hi, Herb, Helmut” 
“Hi, Helmut, Herb. 
What's new?” 


“Nothing new, Herb. 
What's new with you?” 


“Nothing's new, Helmut.’ 


“Is that what you called 
about, Herb?” 


“Not exactly, Helmut, 

I called to ask a favor. 
Can you send me the 
proofs of your Audi ads? 
I want to write an article 
in U&lc on how Avant 
Garde Gothic should be 
used. From what I’ve 
seen around, I’m sure 

I can fill a volume on 
how it shouldn't be used. 
I often wonder whether 
the world wouldn’t be 

a better place to live 

in without Avant Garde 
Gothic. But then, you 
come up with these 
beautifully designed Audi 
ads and it gives me 
renewed confidence in 
my ability as a type 
designer. I wish more 
people would show your 
kind of concern and 
understanding of type”’ 
“Well thanks for the kind 
words, Herb, I’ll send the 
stuff right over’ 
“Thanks, Helmut. And 
maybe you can write a few 
words about your ads. 
See you.’ 


THIS ARTICLE WAS SET IN AMERICAN TYPEWRITER MEDIUM 


RHUNT - 
OVER 
THE QUIC 


MYC 


back— a raw proof which I 
cut apart, tightening and 
loosening the letterspacing 
and leading. 

My obsession with 
typography adds at least 
20% to the production time 
of an ad. Why do I do it, I've 
wondered. And now, finally, 
I know. To get a call from 
Herb Lubalin telling me 
he’s noticed my typog- 
raphy. That's why. 
HELMUT KRONE 


BIACK. 


And o pack of other equally foxy colors. Our crafty pes sedan is nat 
only quick (Oto 50 in secancis), but nimble (s| 
and suspension), It's surefooted (front-wheel drive), Soe straight in Shs 


rs cartype steering 
tracks (special braking~ steering 
systems), And has a’ small 
appene (23.miles per 
gation). Mae one for 


~~ 


under 


AFoxis quick(0to 50 in 10 seconds). 
i's surefooted (front-wheel drive). 
This sly, cunning sedan can take the 
sharpest turns nimbly Sports cartype 
steering 
tcan slop wai in its tracks (special 
braking/steering systems). And it doesn't 
a sai much (23 miles per gallon). 
Best of alll, for under $3,400" you 
can catch the Fox. 


and suspension). 


IS HERE. 


Mojor Trend M tagazine, May, 1973 _ i 


Once upon atime, all cars 
“ie more or less the same. 


STOPS STRAIGHT 
IN ITS TRACKS. . 


.. a@sedan that has sports car 
% features. But how many of 

. them really are, though? 

. Enter the Fox by Audi: a 
real,true sports sedan. 

Its front-wheel drive makes 

p The latest of which _ it incredibly surefooted. 

’ (Italso gives you that traction 

you need to help get you 


TAKES’ 
TURNS NIMBLY. 


ithas anamazingly small ap- 
petite: 25miles per gallon. 
~ Its price is relatively small 
* also:3975° 
The interior, we might 
mention, is relatively large: 
Fag SEO'S five, comfortably. And 
ae) ithas an amount of trunk 
space almost unbelievable 
fora car this size. Its interior, 
by the way, is fairly smart, foo, 
with things like fully-reclining 
contoured seats and door- 
to-door pile carpeting. 
front suspension that are If you're in the market for a 
found on some of the finest “sports sedan’ try a true 


through the snow.) 

lthas the same type of 
rack-and-pinion ——wageesg 
steering and Sag 
independent 


TROIS 
AT 97 MPH. 


sports cars. This allows it sports sedan: the Fox by Audi. 
to take turns with an agility You'll drive noes ever 
remarkable for a sedan. after. 


We also put something in 
the Fox so advanced, sports 
cars don't even have it yet. 
Aspecial front axle. design 
that helps prevent swerving 
when you slop under 
certain adverse conditions. 
(Speaking of stopping, the 
Fox's front disc brakes and 
radial-ply tires enable itto 
stop practically on a dime.) 

Most extraordinary of all, 
despite the fact that this 
peppy little creature's over- 
head-cam engine can do 
0 to50in 8.4 seconds and 


has a top speed of 97 mph, 


12 


such an example is seen on these 
pages, broughtto the attention of 
U&lc by lvan Chermayeff, the farned 
designer whose “best” with letters 
appeared in a previous issue of this 
paper. They are a grouping of letters 
created by nature and assembled by 
a Chicago student of Chermayeff's — 
Joseph Jachma—as anassignment pm 
designed to capture by photography 
letterforms in the landscape. 

Nature provides a marvelous back- 
drop for tyoography, but itis the 
designer's flair and imagination that 
broadens its soectrum. 

An important aspect of contem- 
porary creative thinking is fo revitalize 
the commonplace within the limits | 
of comprehension. Although many 

MATURE’S ALPHABET fine designers are dailyachieving vig 
this goal with new and exciting crafts- i 
Letters of the alohabetneed come —manship intypographic Cesign, . 
notonly from type books orany ofthe the old adage remains as pertinent 
other usual sources, One has only a challenge as ever: “It’s hard to 

to look, and letterforms can be seen improve on nature” 

naturally—in scraps of wood and The photographs reproduced here 
metal in the landscape that were in would seem to bear this out, where 
No way initially intended fo be what natural formations in the landscape 
they become in anew context. have created their own alohabet. 


THIS ARTICLE WAS SET IN AVANT GARDE GOTHIC 


13 


14 


* 


Something for Everybody from U&lc. 


At a performance of a Broadway 
show, having nothing better to do 
during an intermission, since I felt 
no need to smoke or exercise one 
of the usual bodily functions, I sat 


almost automatically 
drew my attention to 


the word“theater7l then spent the 
next quarter-hour in a verbal au- 
topsy-word dissection. Lo,and be- 


WHAT'S IN 
A NAME? 


Within our profession there 
are many unusual family 
names. We decided to explore 
this subject with the possi- 
bility of creating a regular fea- 
ture on the backgrounds and 
derivations of such unusual 
names as my own, “Lubalin.” 

I discussed this concept at 
length one day with a col- 


etymology of your own name is 
sufficiently interesting, please 
send us a meaty, description 
for possible inclusionina 
future issue. 


upon the ground, and thus linked and 
unable to move, they both starved to death. 
The female, meanwhile, went looking 

for greener pastures. 

The old man, patiently witnessing the 
event, took out a sketch pad and dutifully 
recorded the whole thing using an Eagle 
Drafting Pencil #314. Later, when the man 
descended the mountain and returned to 
his village, he displayed his drawing and 
recounted his experience for the benefit 
of the enthralled townspeople. The peo- 
ple of the village thereupon unanimously 
dubbed the man“Link-Horn” and prompt- 
ly appointed him as the town’s first art 


sic sdeee dhe dade league, Tom Lincoln, and sub- gree around the 15th century, the 
My. napa bergse eli sequently received the follow- man foved to England. He eit 
occupation with words ing correspondence. If the g ; 


there until 1634. Then he got a job as an 
indentured servant, sketching portraits, 
designing monograms and working as a 
weaver's apprentice in exchange for pas- 
sage on a sailing ship headed for America. 
Upon his successful arrival in America, 


hold, a seven letter word,theater, 
revealed some amazing revelations. 


Samuel Lincoln (as Linkhorn had be- 
As the only living Oregon-born Gentile come known) became one of the found- 


Ten, to be exact. Art Director practicing in New YorkIam _ing fathers of Hingham, Massachusetts. 
Without changing glad to comply with your request for He also became the ancestor of Abraham 
the sequence of the origin of my name. I need all the Lincoln, who was to become President of 
letters I found ten! publicity I can get. the United States. ; 
words.After con The origin, and historical development Less well known was Peleg Lincoln, first 
siderable subse- % 

quent research 

with the help of 

Daniel Webster, 


Lam issuing this 
brash conclusion. No other 

seven letter word in the 

English language has, /N 
within it, nine different 

words in sequence. 

If any of our readers cares 
to challenge this startling 
discovery, please write to 
me, Herb Lubalin, care 
of U&LC. What all this 
adds up to is contained in 
the old adage,“Seek and 
ye shall find? 


EUREKA! We finally made it! 


In our last issue in an article entitled 


“Selling Ice Cubes to an Eskimo” we de- 


plored the fact that there was a dearth 
of discerming graphic arts buyers who 
realized that 3-dimensions is one dimen- 
sion better than 2-dimensions, especially 
at no extra charge. We also stated that 
after eight unsuccessful attempts at sell- 
ing 3-Dlogos all overthe world, we would 
give it two additional tries. Happily, we 
would like to report that PBS (Public 
Broadcasting Service) bought this logo 
onourninth attempt. A public service or- 
ganization showing such foresight and 
astuteness deserves your utmost consid- 
eration and support. 


of the name Lincoln, as evidenced by a 


study of its basic elements, earliest known 
use, and changes in form and meaning; 
semantic derivation, evolution and here- 
say according to my grandfather Lewis, is 
as follows: 

One day, many, many years ago, an old 
man sat dreaming under a tree at the for- 
est’s edge high in the mountains of Saxony. 
Nearby was a tranquil meadow. Two male 
deer and one female deer appeared from 
out of the forest and began grazing in the 
clearing. Presently, the two stags squared 
off and began a ritual of butting each other 
with their heads. Time after time they 
charged producing a resounding clap that 
echoed throughout the hills. Of course 
the old man was startled out of his reverie 
by all the commotion. Eventually, after 
hours of combat, the bucks’ antlers became 
interlocked. Exhausted, the deer lay down 


cousin to President Lincoln, who inherited 
Samuel Lincoln’s free-lance practice. And, 
as it has been written, “The soft, rich, roll- 
ing countryside absorbed them all, blend- 
ing the races into the sturdy, independent, 
militant builders of a new land. The spirit 
of conflict was their heritage.” Great, great, 
great, great, great grandfather Peleg passed 
the family heritage on down the line and 
today it resides at 100 Central Park South 
in New York City where my clients and I 
continue to re-enact the ancient ritual. 


TOM LINCOLN 


P.S. So that you don’t hold 
your breath too long in antici- 
pation of the meaning of the 


name “Lubalin;’ here it is: It is 
Russian in derivation and 
means “Tree of Love” 


(FAW 


Dateline:Wednesday, 
December 11,1974, 7:46 A.M. 
Croton, N.Y. 

Swe: eee eee) 


“Coming events cast their shadows 
before them,’ but if there were any shad- 
ows when | boarded the 7:46 at Croton 
on that Wednesday morning, | must 
have.missed them. ; 

Little did | realize, as the train pulled 


A MERRY CHRI ) 


2 
“VIAISSOd TIV LI AGVIN OHM HSOH.L H.LIM ONOTV 5 


CONNIE & BOB & JENNIFER & MEGAN WISH YOU 


From our readers: We received this 
Christmas greeting from John Langdon of 
Langdon & Petrick, Woodbury, N.J. Anyway 
you look at it, from the left and down or 
fromtherightand up, you get the message, 
Q delightful one, that well deserves the 
space it occupies on these pages. 


into Ossining, that among those waiting 
on the platform was one who would 
soon exhibit qualities that raised him 
head and shoulders above the average 
commuter. He picked a seat diagonally 
across from mine, and from where | sat 
| had no inkling of what lay ahead. Then, 
without ceremony, he opened his brief- 
case and began reading a copy of U&lc. 
As ane would expect, all eyes instant- 
ly focused upon him, but | kept cool,, 
glanced at my watch, and timed his at- 
tention span. Eighty seconds for page 1; 


15 


24 minutes for the Mecklenburg Decla- commuters settled back into their seats. 
ration, and.2 minutes for Oz Cooper. For the record, | noted that we were just 
XPO-1 took slightly over a minute; the — crossing the Spuyten Duyvil switch. It 
Devil's Dictionary, 30 seconds; half a had been my most fascinating ride to 
minute for Ms. At that point the conduc- New York. 
tor cut off my view, but! estimate a cou- At Grand Central | pushed through 
ple of minutes for The First Alphabet. the aisle, offered to deliver the U&lc sub- 
Something for Everybody, 3 minutes; scription coupon, and introduced my- 
Three-dimensional logos, 21% minutes; _ self. As Lincoln Diamant and! walked 
“Thanks,” 45 seconds; the center spread, along the platform,he explained his 
25; 30 seconds for Graph, and 45 for reason for separating the U&lc pages. 
American Typewriter. Five more min- “I’m routing them to different people. 
utes for the ads. The Mecklenburg story will go to my son 
Then he signed the subscription who's a linguist down in North Carolina.’ 
coupon, put itin his wallet and started —_[ told him was bred in a North Carolina 
to dismember the paper, taking it apart —_ briar patch and doubted if U&lc would 
sheet by sheet and folding certain ever convince a Tar Heel that July 4th 
sheets together in different ways, in outshone May 20th. As we parted,Mr. 
one case with a large ad on the outside. Diamant ventured that our bill for news- , 
Tucking the sections into different com- print must be substantial. | assured him 
partments of his briefcase, he closed it was indeed substantial, very substan- 
the case and opened up the Times, to- __ tial, but that we regarded it as a neigh- 
tally unaware that for 19 miles he'd been _ borly gesture to keep the paper indus- 
under the close scrutiny of fellow-pas- _ try out of depression. 
sengers. The show was over and the ED RONDTHALER 


FANTASTIC FABLES 
BY AMBROSE BIERCE. 
THE FIRST 3 


Se. aD 
AESOPUS EMENDATUS: 


How Leisure Came 


was bolting his breakfast in order to catch 
a train, had leaned his newspaper against 


his haste and abstraction he stuck a pickle 
fork into his right eye, and on removing 
the fork the eye came with it. In buying 
spectacles the needless outlay for the 
right lens soon reduced him to poverty 
and the Man to Whom Time Was Money 
had to sustain life by fishing from the 

end of a wharf. 


HEDDA JOHNSON 


A Man to Whom Time Was Money, and who 


the sugar-bowl and was reading as he ate. 


The Foolish Woman 


A Married Woman, whose lover was about to 
reform by running away, procured a pistol and 
shot him dead. 

“Why did you do that, Madam?” inquired a 
Policeman sauntering by. 

“Because, replied the Married Woman, “he was a 
wicked man, and had purchased a ticket to Chicago.’ 
“My sister,’ said an adjacent Man of God, solemnly, 

“you cannot stop the wicked from going to 
“® Chicago by killing them: 


In 


The Crimson Candle 


Aman lying at the point of death called his wife to his 
bedside and said: 

“Lam about to leave you forever; give me 
therefore, one last proof of your affection and fidelity 
for, according to our holy religion, a married man 
seeking admittance at the gate of Heaven is required 
to swear that he has never defiled himself with an 
unworthy woman. In my desk you will find a crimson 
candle which has been blessed by the High Priest 
and has a peculiar mystical significance. Swear to me 
that while it is in existence you will not remarry: 

The Woman swore and the man died. At the funeral 
the Woman stood at the head of the bier, holding a 
lighted crimson candle till it was wasted entirely away. 


Mis. Carol Anthony @ Friends 


Mr. Funk, Mr. Wagnall and Mr. Webster all define “carol” as a joyous song. We concur with this definition as it re- 
lates to Carol Anthony. Carol is the melody and her delightful little people are the lyrics. Together, they make beau- 
tiful music. Pictured on this page are Carol and her friends, Eli and Harry. She created them, among many other 
fascinating characters, with sheet-maché and paste, old clothes carefully collected from all over the world and 
shrunk to fit their less-than-life sizes, props gathered from intensively researched sources, and with an astound- 
ing insight into human nature. Many of Carol’s flesh-and-blood friends got together to rub elbows with her fabri- 
cated friends at a recent one-woman show in New York City. There was no better time and place...or way...to rejoice. 


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My figures are statements about people; About our capacity for delight and wonder; 
About our sense of pain and beauty that surrounds our lives; About our sense of pity 
and compassion that makes us deal together, with our loneliness and fear; And about 
our sense of hope and dreams that is the fragileness that transcends and binds us all 
together. I try to capture a feeling, a sense of place within cach fisure that has influ- 
enced and moved me in my own life; And to somehow explain and touch, in my three- 
dimensional language and understanding, the simple warmth and vision in each of us. 


CAROL ANTHONY 
THIS ARTICLE IS SET IN TIFFANY 


MS, AMERICAN PIE 


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oh WHAT on 


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Fimo 


BARNEY AND HIS FLYING CHARIOT THE THREE GRACES 


18 


| 


PIREOEN TING 
Miss 
FINALISTS 


Menand women are essentially dreamers, and 
many of these human dreams have been 


realized. But one dream, more persistent than 


the rest, continues to occupy the creative artist: 
to end the confusion of the “Tower of Babel” 
that keeps man dpart from full and untram- 
meled communication with his fellow man. 


The One Show is real testament to the 
Increasing fulfillment of this last dream —to the 
health, vitality, and advancements—made by 
communications worldwide. From the draw- 
Ings In the caves of Altarnira to the polished 
and the creative refinements of the finalists 
depicted on these pages, The One Show repre- 
senis Gn ever-expanding progression in writ- 
ing, art direction, design, and all of their 
communicating links. These links bind creative 
people to one another and their need to know 
and share common concepts and concerns; 
to move ideas; persuade; and sell products 
and services with the highest levels of taste. 


Covering as it does every field of endeavor 
in advertising and the graphic arts, The One 
Show is a truly representative composite of life 
today. Actually two shows in one, the Advertis- 
ing portion is co-sponsored by The Art Directors 
Club and Copy Club of New York, and the Edi- 
torial and Grayohic Design portion by The ADC 
only. Here are the things we eat, use, and 
wear; the things we work with, the things we 
play with, and the things we do, cajpsulized by 
some of the most creative people in the world 
today. Their considerable accomplishments 
represent not only superior work for their clients 
and the public but a kaleidoscope of our life 
and times. 

From these finalists, gold and silver honors 
wil be awarded in the various categories. Fol- 
lowing those presentations in June, The One 
Show will be on display July 10 through 30, at 
the Union Carbide Building, 47th Street and 
Park Avenue, New York City. From worldwide 
submissions totaling over 11,000, a jury of 60 of 
the industry's leading talents has selected 1,100 
—making The One Show the most comprehen- 
sive in the world on the creative disciplines, 


The One Show represents a broad spec- 
trum of communications and proves that, tight 
economy or no, creative people can still be 
productive, innovative, clever, amusing, forth- 
right, and professionally optimistic. 

The finalists represent examples from the 
best of the best and are substantial proof of the 
clear emergence of the creative artist as a sig- 


+ 


nificant force in the world of commerce. 


So three to get ready, two for the finalists, 
and one for The One Show. 


ABOVE TYPE IS SET INLUBALIN GRAPH EXTRA LIGHT 


VS. FINANCING IT. REAR WINDOWS, TOO. 


seem WIP WOU) IVE pper 
- Adsense WEVA SEU TTOR CAR MARES SENSI 
DURING THES: TRYING TIMES. 


WP Wh Ne 


BIG THREE 
0 UP! 


G.M. Ford, Chrysler Hike Prices. 


et 


Little One Stays Down! 


nm. 
2 ‘Srill*2625 
AVOLVO DISCOVERY: 
mother of: 
REE OM oo, youre already the father? 


% 


These are the things that 
litter our beaches. 


Not beer cans, paper cups 
candy wrappers. 


Anddoit wopethir. 


8 THE VRAVELERS 
Mayte we earthelp, 


19 


Print Advertising 
oo ee eee See 
NEWSPAPER ADS AND CAMPAIGNS: 


1 Art Director/Designer: Nick Scordato 
Writer: Ken Charof 
Photographer: Cailor-Resnick 
Agency: Doherty, Mann & Olshan 
Client: Better Homes & Gardens 


2 Art Director: Charles Piccirillo 
Writer: Mike Mangano 
Photographer: Larry Sillen 
ee : Doyle Dane Bernbach 
Client: Volkswagen of America 


3 Art Director: Robert Reitzfeld 
Writer: Thomas J. Nathan 
Photographer: Henry Sandbank 
Agency: Scali, McCabe, Sloves 
Client: Volvo of America Corp. 


4 Art Director: Bob Czernysz 
Writer: Richard Olmsted 
Agency: Y&R 
Client: People Magazine 


5 Art Director/Designer: Hy Varon 
Writer: Charles Gowl 
Artist: Gene Calogero 
Agency: Warwick, Welsh & Miller 
Client: Smithsonian Magazine 


6 Art Director/Designer: Mark Yustein 
Writer: Kay Kavanagh 
Photographer: Allen Voge 
Agency; Della Femina, Travisano & Partners 
Client: Carte Blanche 


CONSUMER MAGAZINE ADS (B/W): 


7 Art Director/Designer: Allan Beaver 
Writer: Larry Plapler 
Photographer: Cailor/Resnick 
Agency: Levine, Huntley, Schmidt 
Client: Lesney Products Corporation 


8 Art Director: Mike Tesch 
Writer: Ed Butler 
Photographer: Peter Papadopolous 
Agency: Carl Ally 

- Client: The Travelers Insurance Companies 


9 Art Director/Writer: Agency Creative Staff 
Photographer: Charles W. Smith 
Agency: Hackenberg, Normann Assoc. 
Client: Hyatt Regency Chicago 


10 Art Director/Designer: Horace Minnar 
Writer; Mike and Pat Cetta 
Agency: Minnar Advertising 
Client: Sparks Steak House 


11 Art Director/Designer: Reinhold Schwenk 
Writer: Robert Saxon 
Photographer: Henry Sandbank 
Agency: Doyle Dane Bernbach 
Client: Sony Corporation 


CONSUMER MAGAZINE ADS (COLOR): 


12 Art Director/Designer/Artist: Michael Winslow 
Writer: Harriet oe 
Photographers: Phil Marco, Ralph Holland 
Agency: McKinney & Silver 
Client: State of South Carolina, Division of Tourism 


13 Art Director: Irwin Goldberg 
Designers: Irwin Goldberg, Arthur Zimmerman 
Writer; Bob Larimer 
Photographer: Tom Seton 
Agency: Nadler & Larimer 
Client: Austin Nichols & Co. 


14 Art Directors: Stuart Pitman, Faith Popcorn 
Writer: Murray L. Klein 
Photographer: Michael O'Neill 
Agency: Smith/Greenland Co. 
Client: Somerset Importers 


15 Art Director: Robert Reitzfeld 
Writer: Thomas J. Nathan 
Photographer: Henry Sandbank 
Agency: Scali, McCabe,,Sloves 
Client: Volvo of America Corporation 


16 Art Director: Lou Carvell 
Writer: Ted Pettus 
Photographer: Pete Turner 
Agency: McCaffrey & McCall 
Client: Rolls Royce 


CONSUMER MAGAZINE CAMPAIGN (B/W): 


17 Art Director: Charles Piccirillo 
Writer: Mike Mangano 
Photographers: Larry Sillen, David Langley, Frank Cowan 
ency: Doyle Dane Bernbach 
Client: Volkswagen of America 


THESE CREDITS ARE SET IN AVANT GARDE GOTHIC CONDENSED 


20 


20 


Unfortunately, ears tant bys 


the way eyes can shut out Ji 


21 


You Sent ir 
Hor mere int 


namnber, (800) 255-4180, and a Xerox representative 


will ran right over 


THE TRAVELERS 


XEROX 


IT TAKES A LOT OF DUMMIES 
MAKE ACAR 
FOR PEOPLE WHO THINK. 


THIS YEAR, 
OVER 800,000 
AMERICANS 
WILL FACE THIS 

PROBL 


‘troodenitng that serves. 
STORER 


STATIONS 
The Beech-Nut Baby Research Report CHICKENS YOU ‘CAN 
FEED BABIES? PROFITS BEFORE 


THEY HATCH, 


You can tell a lot about a man 


How to tighten 
your belt 
without cutting off 


our circulation. 


survey conducted by Markets the New York ADI, nothing on 
In Focus, the Daily News has. ally the tube can give you more 
mi tion's should st 


by how holds his liquor. 


the ci y mai F 
daily in the nation, with over i 
5 million readers. 


paper ld 
take a closer look 
at than the New 

York Daily News. 


Dail DAILYeNEWS 
less, Tad rorraly noo! 
in 


News 
Furthermore 


one in bs. 
In fact, according toarecent Now let's take a look at TV. 


18 Art Director/Designer: Charley Aromando 
Writer: Ruth L. McCarthy 
Photographers: Irwin Cohn, Jerry Cohen 
Agency: Wilson Haight & Welch 
Client: Campana Corporation 


19 Art Director/Designer: Cathie Campbell 
Writer: Arthur Einstein 
Photographers: Mathew Brady , John-Paul Endress, 
Carl Fischer, David Langley 
Agency: Lord, Geller, Federico 
Client: Steinway & Sons 


20 Art Director: Mike Tesch 
Writer: Ed Butler 
Photographers: Allen Macweeny, 
Peter Papadopolous, Dave Langley 
Agency: Carl Ally 
Client: The Travelers Insurance Companies 


21 Art Directors: Allen Kay, Jeff Cohen 
Writers: Lester Colodny, Lois Korey 
Photographers: Dave Langley, 
Howard Menken, George Ehrlich 
Agency: Needham, Harper & Steers 
Client: Xerox Corporation 


CONSUMER MAGAZINE CAMPAIGN (COLOR): 


22 Art Directors: Joe Gregorace, Harvey Cohen, Dick Wolf 
Writers: Marv Jacobson, 
Charlie Kornberger, Michael Norica 
Photographers: Phil Marco, Joe Toto, Five, Inc. 
Agency: Benton & Bowles 
Client: Procter & Gamble 


23 Art Director: Robert Reitzfeld 
Writers: Thomas J. Nathan, Edward A. McCabe 
Photographers: Henry Sandbank, Steve Horn 
Agency: Scali, McCabe, Sloves 
Client: Volvo of America Corporation 


24 Art Director/Designer: Mel Platt 
Writer: Jennifer Berne 
Artist: Norman Green 
Photographer: Lee Batlin 
Agency: Martin Landey, Arlow Advertising 
Client: Kals¢ Systemet 


25 Art Director/Designer: Mel Platt 
Writer: Jennifer Berne 
Photographer: Michael O'Neill 
Agency: Martin Landey, Arlow Advertising 
Client: Beech-Nut Baby Food 


26 Art Directors: Nick Gisonde, Mark Yustein, 
Jim Perretti 
Designer: Nick Gisonde 
Writers: Neil Drossman, John Russo 
Photographers: Joe Toto, Carl Fischer, Carl 
Furuta,Armold Beckerman 
Agency: Della Femina, Travisano & Partners 
Client: Schieffelin & Company 


TRADE AD (B/W): 


27 Art Director/Writer: Dick Calderhead 
Designer: Barbara Schubeck 
Artists: Marc Nadel, The Bettmann Archive 
Agency: Calderhead, Jackson 
Client; Calderhead, Jackson 


28 Art Director: John Cenatiempo 
Writer: Andrew Isaacson 
Photographer: Cailor/Resnick 
Agency: Gaynor & Ducas 
Client: Storer Broadcasting Company 


29 Art Director: Sam Scali 
Writer: Edward A. McCabe 
Photographer: Alan Dolgins 
Agency: Scali, McCabe, Sloves 
Client: Perdue Farms Incorporated 


30 Art Director/Designer: Allan Beaver 
Writer: Larry Plapler 
Photographer: Cailor/Resnick 
Agency: Levine, Huntley, Schmidt 
Client: Lesney Products Corporation 


31 Art Director/Designer: Ed Rotundi 
Writer: Neil Drossman 
Photographer: David Vine 
Agency; Della Femina, Travisano & Partners 
Client: The Daily News 


Does this 
dowish couple 
‘lave fo marryand 
have children? 


32 


ALMOST AS MUCH 


STEALING GOES ON 
MADE IN MEADOW 
” MUFFINS, IN INDUSTRY TODAY 


AS IN GOVERNMENT. 


ALMOST AS MUCH , 

STEALING GOES ON 

IN INDUSTRY TODAY Wel, ou crelation sup Way up. 
AS IN GOVERNMENT. a gee 


We neesd two sharp 
secretaries, a 
classssy reception- 
est, and xewkxtwo 


ABBEYXAX 
accguratke cleark 
typists. 

Call Mr.Ivey fomr 
an appointment at 
mNMetzdorf Adv., 
526-5361. 


a great woman, 


~ 


Miuve Nun, The delicious white Wine more people are converting to every year. 44 


42 


otigkingbeties, re WEHEARYOU 
= ne inglove. Hy ral yet NEEDA p 


NEW MUFFLE 


ing, New You. [And vo do your neighbors. And if yo to th 
nots ay be 


m 
We st 


ond 3 colors From $32. 5010 $5750 


21 


TRADE AD (COLOR): 


32 Art Director/Designer: Lee Epstein 
Writer: Hal Silverman 
Photographer: Henry Sandbank 
Agency: Doyle Dane Bernbach 
Client: Polaroid Corporation 


33 Art Director: Bob Kwait 
Writer: Mike Marino 
Photographer: Bob Bender 
Agency: Griswold-Eshleman 
Client: Industry Week 


34 Art Directors: Bob Kwait, Tom Gilday 
Designer: Bob Kwait 
Writer; Mike Marino 
Photographer: Jan Czyrba 
Agency: Griswold-Eshleman 
Client: Industry Week 


35 Art Director/Designer: Mark Yustein 
Writer: Kay Kavanagh 
Agency: Della Femina, Travisano & Partners 
Client: Schieffelin & Company 


36 Art Director/Designer: Burt Klein 
Writer: Breen & Porter 
Photographer: Bob Panuska 
Agency: Saunders Bell Hicks 
Client: Volare Shoe Company 


TRADE CAMPAIGN (B/W): 


37 Art Director/Designer: Gene Federico 
Writer: Arthur Einstein (with Woody Allen), 
Tony Bennett, Buckminster Fuller, 

Tom Heinsohn, Stanley Marcus, Lou Rawls) 
Agency: Lord, Geller, Federico 
Client: The New Yorker 


38 Art Director/Designer: Richard Brown 
Writer: Steve August 
Artist: Jack Eide 
Photographer: Tony Cutioneo 
Agency: Richard Brown 
Client: Ortho Pharmaceutical Corporation 


39 Art Directors/Designers: Allan Beaver, Ken Sausville 
Writers: Larry Plapler, Frank Anton 
Photographer: Cailor/IResnick 
Agency: Levine, Huntley, Schmidt 
Client: Lesney Products Corporation 


TRADE CAMPAIGN (COLOR): 


40 Art Director: Bob Kwait 
Writer: Mike Marino 
Photographer: Bob Bender 
Agency: Griswold-Eshleman 
Client: Industry Week 


41 Art Director: Dick Thomas 
Writer: Whit Hobbs 
Artist: Bob Deschamps 
Agency: Blue Green Inc. 
Client: Rolling Stone 


42 Art Director/Designer: Mark Yustein 
Writer: Kay Kavanagh 
Photographer: Charlie Gold 
Agency: Della Femina, Travisano & Partners 
Client: Schieffelin & Company 


SMALL SPACE AD: 


43 Art Director/Designer: Jack Mariucci 
Writer: Marcia Bell Grace 
Photographer: Cosimo 
Agency: Doyle Dane Bernbach 
Client: American Tourister Luggage 


44 Art Director/Designer: Lyle Metzdorf 
Writer: Lyle Metzdorf 
Agency: Metzdorf Advertising 
Client: Metzdorf Advertising 


45 Art Director/Designer: Tom Smith 
Writers: Walt Woodward, Tom Smith 
Artist: Curilla & Associates 
Agency: Griswold-Eshleman 
Client: Korman Muffler 


22 


CLUB MEDITI ye ee 
MONEY ISN'T THE ONLY LANGUAGE 
PEOPLE SPEAK. 


a8? 


é 


pe 


46 TRAVEL AGENT 


BEFORE INFLATION, YOU COULD GET 
A12 COURSE MEAL IN ITALY FORS5. 
NOW, ts ALLTHE WAY UPTO "6. 


“The Pursuit of Youth” | 
AXerox Season bE ar Ay BO, 
» BM. EDT on NBCTYV Netwo 


Ay ead Nt Oreo, 


ay 


eat, 


Doesntany’ IR any mney 


56 © eatoon e\ 
CADIES INAVITED Sad NEWBURY ST! 2678645) CHESTNUT HILL MALL/244-1200 


51 win + 
The Tl year old who wrote 
v7 Yhessem LQ. 08 150, “ 


THE QUALITY 
OF MY PARTS 
IS EQUAL 
TO THE WHOLE. 


Frank Perdue 
a Beng you should always look for Perdue tagged 


They'te the “per apd spdcheuan| 
Perdue chickens, And they're the as 
e néy-back ici pai 


SMALL SPACE CAMPAIGN: 


46 Art Director/Designer: Bill Kamp 
Writers: John Russo, Larry Plapler 
Artist: Whistlin Dixie 
Agency: Levine, Huntley, Schmidt 
Client: Club Mediterranee 


47 Art Director/Designer: Paul Singer 
Writer: Joe Tantillo 
Photographer: Rudy Legname 
Agency: DKG 
Client: Alitalia Airlines 
48 Art Director: Peter Kingman 
Writer: Ron Berger 
Agency: Carl Ally 
Client: Pan American World Airways 


SINGLE OUTDOOR: 


49 Art Director/Designer: Ed Fanagan 
Writer: Jim Copacino 
Photographer: John Conboy 
Agency: Promotion Plus 
Client: General Wine & Spirits 


50 Art Director/Designer: Jerry Torchia 
Writer: Barbara Ford 
Photographer: Bill Barley 
Agency: Cargill, Wilson & Acree 


Client: South Carolina Electric & Gas Company 


51 Art Director: Stan Jones 
Writer: David Butler 
Photographer: Carl Furuta 
Agency: Doyle Dane Bernbach 
Client: American Airlines 


52 Art Director/Designer: Mitch Leichner 
Writer: Andy Certner 
Photographer: Cosimo 
Agency: Doyle Dane Bernbach 
Client: GTE 


OUTDOOR CAMPAIGN: 


53 Art Director/Designer: Bill Murphy 
Writer; Joan McArthur 
Agency; Ingalls Associates 
Client: Ogden Recreation 


54 Art Director/Designer: Marty Neumeier 
Writer: Garth De-Cew Staff 
Agency: Garth De Cew Group 
Client: Dos Pesos Restaurants 


55 Art Director/Designer: Jerry Collamer 
Writer: Valerie Wagner 
Artist: Lowell Herrero 
Agency: McCann-Erickson 
Client: Delmonte 


POSTERS: 


56 Art Director/Artist: Tony Viola 
Designer: Dick Pantano 
Writers: Tony Winch, Seumas McGuire 
_ Agency: Hill, Holliday, Connors, Cosmopulos 
Client: Charley's Eating & Drinking Saloon 


57 Art Director/Designer: Harvey Gabor 
Writer: Rick Johnston 
Photographer: Gus Boyd 
Agency: McCann-Erickson 
Client: The New York Racing Association 


58 Art Director: Sam Scali 
Writer: Edward A. McCabe 
Photographer: Phil Mazzurco 
Agency: Scali, McCabe, Sloves 
Client: Perdue Farms Incorporated 


59 Art Director/Designer: Bill Weinstein 
Writer: Lawrence Brown 
Agency: Scali, McCabe, Sloves 
Client: Time-Life Video 


60 Art Director: Allen Kay 
Writer: Lloyd Fink 
poe her: Carl Fischer 
a eedham, Harper & Steers 
Client: Xerox Corporation 


PUBLIC SERVICE SINGLE: 


61 Art Director/Designer: Alan Kupchick 
Writer: Enid Futterman 
Photographer: Joe Toto 
Agency: Grey Advertising 
Client: New York State Board of Adoption 


‘62 Art Director/ Designer: Milt Wuilleumier 


Writer: Ken Henderson 

Artist: Barbara Dubé 
Photographer: Edward Bishop 
Agency: Ingalls Associates 
Client: Learning Disabilities 


23 


63 Art Directors: June Corley, Mary Moore Writers: Katina Mills, Veronica Nash 
Writers: Katina Mills, Veronica Nash Artist: Joe Patti 
Photographer: David Doss Photographer: David Doss 
Agency: Humphrey Browning MacDougall Agency: Humphrey Browning MacDougall 
Client: Massachusetts Society for the Client: Massachusetts Society for the Preven- 
Prevention of Cruelty to Animals tion of Cruelty to Animals 

64 Art Directors: June Corley, Mary Moore PUBLIC SERVICE CAMPAIGN: 


Writers: Katina Mills, Veronica Nash 
Photographer: David Doss 

Agency: Humprey Browning MacDougall 
Client: Massachusetts Society for the Preven- 


66 Art Directors: June Corley, Mary Moore 
Writers: Katina Mills, Veronica Nash 
Artist: Joe Patti 
Photographer: David Doss 


tion of Cruelty fo Animals Agency: Humphrey Browning MacDougall 
65 Art Directors: June Corley, Mary Moore Client: Massachusetts Society for the 
Prevention of Cruelty fo Animals 
sabes can prove your dog is a genuine, All-American Mutt. SINGLE POLITICAL: 


67 Art Director: Barbara Schubeck 
Writer: Dick Calderhead (with Mother Goose) 
Artist: Marc Nadel 


When you adopt a pup from the MSPCA, you get a 
f certificate just like this one to prove he's a genuine, 
All-American Mutt. 


| Our All-American Alley Kittens have papers, too! 
; They're ajehoct me fe the MSPC h ricneian Wand Agency: Calderhead, Jackson 
F 180 Longwood Avenue, Boston. Come in 10:80 ta 8:30, Client: National Emergency Civil Liberties 
F Monday th h Saturday. We g1 lee you'll lez 
b with tha hese ery thing. mor waaejoricectone nimi) Committee 
| Getthebestofeverything. Adopt a ‘emt. 
; Photography & Art 
ADVERTISING PHOTOGRAPHY: 


68 Art Director/Designer: Lee Epstein 
Writer: Hal Silverman 
Photographer: Melvin Sokolsky 
Agency: Doyle Dane Bernbach 
Client: Polaroid Corporation 


69 Art Director: Allen Kay 
Writer: Roy Fink 


4 THE bts. seek iain = 
gency: Needham, Harper & Steers 
MOST EXTRAVAGANT Client: Xerox Corporation 
$05 WATCH EVER 70 Art Director/Designer/Writer/Photographer: Randy Miller 

MADE. Agency: Randy Miller, Inc. 

Client: Randy Miller 
; 71 Art Director: Dennis D'Amico 

TRIFAR! Writer: Dick Tarlow 


Photographer: Michael O'Neill 
Agency: Sacks, Tarlow and Rosen 
Client: Trifari, Krussman and Fishel 


72 Art Director/Designer: Bill Alderisio 
Writer: Gemma Just 
Photographer: David Hamilton 
Agency; J. Walter Thompson 
Client: G.D, Searle & Co. 


ADVERTISING ART: 


73 Art Director/Designer: Marilyn Katz 
Writer: Roger Myers 

Artist: Dave Willardson 

Agency: Van Brunt & Company 
Client: New England Fish Company 


74 Art Director/Designer: Anthony V. Leone 
Writer: Bernard Ostrof 

Artist: Mark English 

Agency: Lewis & Gilman 

Client: Pfizer Pharmaceuticals 

75 Art Director/Artist: Ben Wong 

Designers: Bruce Wolfe, Ben Wong 
Writer: David Perlstein 

Agency: Wenger-Michael 

Client: CBS Musical Instruments 

76 Art Director/Designer: Dolores Gudzin 
Artist: Wilson McLean 

Agency: National Broadcasting Company Art 
Promotion 

Client: National Broadcasting Company 


77 Art Director/Designer: Anthony V. Leone 
Writer: Bernard Ostrof 

Artist: Roy Carruthers 

Agency: Lewis & Gilman 

Client: Pfizer Pharmaceuticals 


24 


Director: Mickey Tenner Client: Barney's Clothes Producer: Steve Novick — 
Broadcast Producer: Syd Rangel "83 Art Director: Bill Smith oe oe ater 
:30 TV COMMERCIAL: Production Co.: EUE Writer: Hugh Wells Agency: Grey Advertising } 
78 Art Director: Robert Reitzfeld Aig Needham, Harper & Steers Director: Hil Covington Client: New York State Board of Adoption 
Writer: Thomas J. Nathan Client: Xerox Corporation Producer: Michael Paradise 97 Art Director: Georgia Shankel 
Director: Henry Sandbank 81 Art Director: Ralph Moxcey Production Co.: Hil Covington Writer: Dorothy Linder 
Production Co.: Henry Sandbank Films Writer: Scott Miller Agency: NW Ayer ABH Producer: Manny Perez : 
Agency: Scali, McCabe, Sloves Director: Joe Hanwright Client: Illinois Bell Production Co.: Stan Lang Productions 
Client: Volvo of America Corporation Producer: Thomas Anabel s rar Agency: Young & Rubicam 
Production Co.: Wakeford/Orloff 84 Art Director: Jim Swan Client: Legal Aid 
79 eu rs ‘wedeaaal Agency: Humphrey Browning MacDougall Writers: any sg) Lou Di Joseph 
riter: Patrick Kelly ats Director: ianchi : 
Director: Steve Horn Client: Converse Rubber Corp. Sicducars HERAT PONG STATION, PROGRAM, NETWORK PROMOTION 
Sent ae Sonam 60 TV COMMERCIAL Production ee cl Productions 98 Art Director: Gordon Bowman 
roduction Co.: Horn/Griner 82 Art Director: Lou Colletti Agency: Young & Rubicam Cameraman: David Hoffman 
Agency:CarlAlly = Swine nts Drazen Client Dr Pepper Writer: Charlie Miesmer 
Client: Tonka Corporation Director: Steve Horn 85 Art Director: Jonis Cold Director: David Hoffman 
80 Art Director: Allen Kay Production Co.: Steve Horn, Inc. Writer: Tom Little Producer: Harry Wiland 
Writers: Lois Korey, Lloyd Fink Agency: Scali, McCabe, Sloves Director: Joe Sedelmaier Production Co.: Varied Directions 
Producer: Suzanne Carroll Agency: Varied Directions 
Production Co.: Client: Mobil Oil Corporation 
Sedelmaier Film Productions 99 Art Director: Lou Dorfsman 
Agency: McDonald & Little Writers: Lou Dorfsman, Ken Chandler 
Client: Southern Airways Director: Rick Levine 
-30 TV CAMPAIGN: Producer: Richard Goldberg 
* . i Production Co.: Rick Levine Productions 
86 Art Director: Robert Reitzfeld - CBS/Broadcast G 
: Agency: CBS/Broadcast Group 
tila ee ‘ ge lbe d Client: CBS Television Network 
i al el 100 Art Director/Artist/Director/ Producer: 
Henry Sandbank teu toercn 
Production Co.: Henry Sandbank Films : ; 
Agency: Scali, McCabe, Sioves A ys Petersen, Directors Circle, 
Client: olvo of America Corporation Agency: CBS/Broadcast Group 
87 eich min Collamer Client: CBS Television Network 
riter: Valerie Wagner i 
Director: Denny Harris 101 aes wt es IS td Lou Dorfsman 
Producer: Hany Wpieh Production Co. Gomes Loew 
Production Co.: Denny Harris Agency: CBS/Broadcast Gi 
Agency: McCann-Erickson ch + WCBS N areal 38 
Client: Delmonte | at ids 
88 Art Director: Mike Withers sei faha ies 
Writer: Barry Greenspon” 102 Writers: Kay Kavanagh, Mark Yustein 
Directors: Norman Toback, Dave de Vries Producer: Lewis Kuperman 
Producers: Joanne Michels, Dave de Vries Production Co.: National Recording 
Production Cos.: Toback & Associates, Agency: Della Femina, Travisano & Partners 
ese an Client: Schieffelin & Company 
‘pele ® 103 Writer: Jeff Gorman 
Client: Dollar Savings Bank Producer: Janet Collins 
89 Art Director: Mark Ross Production Co.: Studio One 
Writer: Bill Taylor Agency: Zechman Lyke Vetere 
Producers: ee ROss, rare oo Client: Gingiss International 
Production Co.; Wylde & Associates 104 \Writers: Kay Kavanagh, Mark Yustein 
pene Ogilyy & ane Producer: Poa Kepermadn 
Client: American Express Production Co.: National Recording 
:60 TV CAMPAIGN: Agency: Della Femina, Travisano & Partners 
90 Cameraman: Terry Clairmont Client: Schieffelin & Company 
Writer: Hal Newson 105 Writer/Producer: Jeff Gorman 
Director: Dick Snyder Production Co.: Radio & Records 
Production Co.: N. Lee Lacy Agency: Zechman Lyke Vetere 
Agency: Cole & Weber Client: Gingiss International 


Client: Rainier National Bank 


91 Art Director: Andrew Langer 
Writer: Marshall Karp 
Director: Steve'Horn 


RADIO CAMPAIGN: 


106 Writer: Lawrence Kasdan 
Producers: Lawrence Kasdan, Jim Dale. 
Production Co.: Bell Sound 


Production Co.: Steve Horn, Inc. 
: Agency: W, B. Doner & Co, 
Agency: The Marschalk Go: Client: The Detroit News 
Client: Mutual of New York 
107 Writer: Valerie Wagner 
92 Art Director: Jim Swan Producer: Harry Wypich 


Production Co,: Coast Recorders 
Agency: McCann-Erickson 
Client: Delmonte 


Writers: Curvin O'Rielly, Lou Di Joseph 
Director: Ed Bianchi 
Production Co.: Rick Levine Productions 


Agency: Young & Rubicam 108 Writer: Peter Burkhard 
Client: Dr Pepper Producer: Jim Coyne 
93 Art Director Jim Swan Production Co.: Radio Band of America 
es Agency: Young & Rubicam 
Writer: Phil Peppis Client: Bristol-Myers 
Director: Ed Bianchi : 
Production Co.: Milan Films PUBLIC SERVICE RADIO: 
Agency: Young & Rubicam 109 Writer: Susan Russell 
Client: Eastern Airlines Producer: Dennis Gray 
PUBLIC SERVICE TV COMMERCIAL: Agency: Van Sant Dugdale 
DrPepper: : 94 Art Director; Stu Rosenwasser Client: City of Baltimore 
most original Writer: Bob Veder 110 Art Director: Alan Kupchick 
softtrjrke Designer: Seymour Chwast Writer: Enid Futterman 
ial Director: Norm Griner Producer: Steve Novick 
Producer: Vinnie Infantino Production Cos.: Generation Sound, 
Production Cos:: Griner/Cuesta, Push Pin Crescendo Productions 
Studio ne Agency: Grey Advertising 
Agency: Grey Advertising Client: New York State Board of Adoption 
Client: Anti-Defamation League 111 Writer: Ed Flamma 
95 Art Director: Bob Petrocelli Director: Ron Watts 
Writer: Hal Friedman Production Co.: Tom Dawes Productions 
Director: Bob Giraldi Agency: APCL&K 
fe daa Phil re eats Client: U.S. Department of Transportation 
Fen te Ses On UUCT ODOM SY 112 Whiter: Jim Johnston 
Client: National Hemophilia Foundation Producer: Ken Yagoda 
96 Art Director: Alan Kupchick Production Co.: HEA Assoc. 
Writer: Enid Futterman Agency: Young & Rubicam 


Director: Norman Griner Client: Boy Scouts of New York 


Atlas of Cerebral Angiography 
with Anatomic Correlation 


Editor: Ralph Ginzburg 
Publisher: Avant Garde 
Agency: Lubalin, Smith, Carnase 


ae ee TRADE PUBLICATION: 
The built-in bias 


that controls can’t stop 118 Art Director: Joe Giacalone 
Designers: Joe Giacalone, Jim Kollar, 
Sue Connors 

Photographer: Charles Shotwell 
Writer: Carl Burkard 

Publisher: American Medical Assoc., 
Prism 


= z ea 119 Art Director/Designer: Herb Lubalin 

113 121 124 Artists: Stan Mack, Barbara Nessim, Seymour 
Chwast, Dick Hess, Chas, B. Slackman, Wilson 
McLean, Milton Glaser, Bob Alcorn, Gil Stone, 
Doug Johnson, Gerry Gersten, Jim McMullan, 
Marie Michael, Norman Green, Roy Carruthers, 
Francois Colos, Roger Hane, Bob Grossman, 
Jim Spanfeller, Simms Taback, Murray 
Tinkelman, Heather Cooper, Charles White, Ill, 
Jerome Snyder, Marvin Mattelson, James 
Grashow. 
Editors: Herb Lubalin, Ed Rondthaler, Aaron 
Burns, Jack Anson Finke 
firuea International Typeface Corporation, 

Ic 

Agency: Lubalin, Smith, Carnase 


120 Art Director/ yh Samuel N. Antupit 
Artist: Alan E. Cover 
p14 vi sad Photographer: Salmon Bernstein 
MI New Material Publisher: Urban Affairs 
se Agency: Antupit & Others 


121 Art Director/Designer: Herb Lubalin 
Artists: Hedda Johnson, Jerome Snyder, 
Marvin Mattelson, Roger Excoffon, Gene 
Federico, Lou Dorfsman, Ladislav Sutnar, 
Oldrich Hlavsa, Herb Lubalin, Stan Mack, 
Barbara Nessim, Seymour Chwast, Dick Hess, 
Chas. B. Slackman, Wilson McLean, Milfon 
Glaser, Bob Alcorn, Gil Stone, Doug Johnson, 
Gerry Gersten, Jim McMullan, Marie Michael, 
Norman Green, Roy Carruthers, Francois Colos, 
Roger Hane, Bob Grossman, Jim Spanfeller, 
Simms Taback, Murray Tinkelman, Heather 
2 Cooper, Charles White, I!I, James Grashow. 
Pe ae ae Editors: Herb Lubalin, Ed Rondthaler, Aaron 
Editorial Burns, Jack Anson Finke 
a MRE Ty OP aca Writers: Herb Lubalin, Ed Rondthaler, Jack 


118 123 1 


oo 
& 


f 


ye New Hork Canes Magasin: 


aN et la CONSUMER PUBLICATION: 
P e re Anson Finke, FHK Henrion, Gerhard Lange, 
bag — os 3 113 Art Director: Robert N. Essman Armin Hofmann, Adrian Frutiger, Max Caflisch, 
pagan o or ) 2 } Designers: Robert N. Essman, Wim Crouwel, Nicolete Gray 
v, Berni Schoenfield Publisher: International Typeface Corporation, 
Artist: Pierre Le-Tan * Y&lo 
+k VS. + Publisher: Business Week Agency: Lubalin, Smith, Carnase 
; 114 Art Directors: Art Kane, Carl Barile 422 Art Director: Andy Kner 

Designers: Claire Victor, Designers: David Kaestle, Michael Gross 
Hector Marrero Editor: Marty Fox 
Photographer: Art Kane Publisher: Print Magazine 
Publisher: Viva 

115 Art Director/Designer: sain 1 . 
David Kaestle 123 Art Director/Designer: Albert Squillace 
Artists: Alan Rose, Marc Photographer: Bob Willoughby 

x : ae Arceneaux, Mara McAfee Writer: Richard Schickel 
New York Affairs Photographers: David Kaestle, Publishers: Ridge Press, Random House 
L Vince Aisoa, Robert Parker 124 Art Director/Designer: Massimo Vignelli 

Writers: Doug Kenny, PJ. O'Rourke Artist/Writer: Margaret M. Waddington, M.D. 
Publisher: National Lampoon Publisher: Little, Brown & Co. 

116 Art Director/Designer/Artist: 125 Art Director/Designer: Albert Squillace 
Ruth Ansel Artist: John James Audubon 
Editors: Lewis Bergman, Writer: Roland Clement 
Jack Rosenthal Publishers: Ridge Press, Grosset & Dunlap 
Publisher: The New York Times : 
Magazine 126 Art Director/Designer: Lawrence Levy 

: Editors: Elliott Anderson, John Perrault, 

117 Art Director/Designer: Lawrence Levy 
Herb Lubalin Publisher: TriQuarterly Magazine 
Artist: Roy Carruthers Agency: Lawrence Levy Design/Film 


7 120 


' 


26 


j j ists: r Chwast, Haruo Miyauchi, \Miter: Art Odel 
Graphic Design Christin ber : Agency: Harry Murphy & Friends 
See Publisher Client: Push Pin Studios Client: Gensler & Associates/Architects 
SALES PROMOTION BOOKLETS & 129 Art Director/Designer: Thomas Wood 131 Art Director/Designer/Artist: Ford, Bryne & 
SALES PRESENTATIONS: Artists: Steve Parks, Rhoda Hunt, Wayne Leigh ' poco eae Staff 
:Robin Rickabaugh, Jerry Womack, Bruce Young, Jack Ricketson, Jake riter: Dona ' 
eg Heidi ickebaughe oi ; <i Glen Stewart, Craig Meroan: HORS Wood Agency: Ford, Bryne & Associates 
Design: Robin Rickabaugh Writers: Dick Grant, Robert Solomon, Ray Garrett, Client: Sperry-Remington 
Photographer: Ron Finne Steve Parks | ; 132 Art Director/Designer: James Miho 
Editor: Ann Granning Bennett Publisher Client: Creative Services, Inc. Artists: Norman McDonald, Barry Zaid, Ying Wei 
Client: Reed College 130 Art Director/Designer: Harry Murphy Tang, Marjorie Guarcello, Y.W. Tang 
128 Art Director/Designer: Seymour Chwast Artist: Kate Keating Photographers: Jerry Sarapeochiello, Run Run 


Shaw 

Writer: David Brown 

Publisher: Champion Papers Marketing Services 
Client: Champion Papers 


133 Art Director/Designer: Rick Horton 
Artist: Gateway Studios 
Photographer: Ed Zak 
Writer: Alan Van Dine 
Agency: Van Dine Horton McNamara 
Client: Koppers Company 


134 Art Director: Bill Bonnell, III 
Designers: Bill Bonnell, Ill, Randy Hoffeld 
Photographer: Rudolf Janv 
Writer: Rhodes Patterson 
Agency: Communications Department, Container 
Corporation of America 
Client: Container Corporation of America 


135 Art Directors/Designers/Artists/Writers: 
Craig Bernhardt, Janice Fudyma 
Agency: Graphics-To-Go 
Client: Craig Bernhardt and Janice Fudyma 
RECORD ALBUMS: 


136 Art Director/Designer: Woody Pirtle 
Artists: Bill Jenkins, Woody Pirtle 
Agency: The Richards Group 
Client: Capitol Records 


137 Art Director/Designer/Photographer: Mike Salisbury 
Agency; United Artists Artists 
Client: Blue Note Records 


138 Art Director/Designer: John Berg 
Photographer: Jay Maisel 
Agency/Client: Columbia Records 


139 Art Director: Ed Thrasher 
Designer: Gribbitt 
Photographer: Gary Gross 
Agency/Client: Warner Bros. Records 


140 Art Directors: John Berg, Henrietta Condak 
Designer: Henrietta Condak 
Artist: Richard Hess 
Agency/Client: Columbia Records 


CALENDARS 


Art Director/Designer: Jon Lopez 
Photographers: Dorothea Lange, Harold E. 
Edgerton, Henri Cartier-Bresson, Henry 
Wessel, Eugene Atget, Lee Friedlander, ' 

R. L. Rowe, Robert Frank, Sir William Abney, 
Simon Nathan, Clarence H. White, Joel 
Meyerowitz, Andre Kertesz, Frederick Sommer, 
Bill Brandt, George Krause, Garry Winograd, 
Ernest J. Belloog, Berenice Abbott, Jerry 
Uelsmann, Helen Levitt, Ray Metzker, Tetsu 
Okuhara, Leon Levinstein, George Barnard, 
Paul Caponigro, Clarence John Laughlin, 
Josef Koudelka, Bill Dane, Jacques Henri 
Lartigue, Minor White, Walker Evans, Brassai, 
Wright Morris, Francis Frith, Geoff Winningham, 
Duane Michaels, Aaron Siskind Elliott Erwitt, 
Julia Margaret Cameron, Tod Papageorge, 
Harry Callahan, Eadweard Muybridge 

Writer: Marjorie Munsterberg 

Editor: Mary Lee Bandy 

Publisher: Museum of Modern Art 

Agency: Jon Lopez Design 


142 Art Director: Dorris Janowitz 
Designer/Artist: Milton Glaser 
Editor: Linda Lee 
Publisher: Farrar, Straus & Giroux 


143 Art Director: James Miho 
Designer: Tomoko Miho 
Writer: David Brown 
Agency: Champion Papers Marketing Services 
Client: Champion Papers 


POSTERS: 
144 Art Director/Designer: James Miho 
Artist: lvan Chermayeff 


Agency: Chermayeff & Geismar Associates 
Client: American Institute of Graphic Arts 


Howrnann Hesse 1975 Catonday Hhisteatod ty. Milton Glaser 


14 


— 


149 


150 


Ehe New Uork Cimes Magazine 


159 


161 


bi 


145 Art Director/Designer/Artist: Ivan Chermayeff 
Agency: Chermayeff & Geismar Associates 
Client: Mobil Oil Corporation 


146 Art Director: Marjorie Katz 
Designer: Jim Garrison 
Photographer: Rudolf Beck 
Agency; Knoll International 
Client: Knoll Textiles 


147 Art Directors/Designers: lvan Chermayeff, 
Thomas Geismar 
Artist: Saul Steinberg 
Agency: Chermayeff & Geismar Associates 
Client: Institution of Contemporary Art 


LETTERHEADS: 


148 Art Director/Designer: Clyde Hogg 
Artists: Larry Bishop, Lisa Johnson 
Agency: Daniel, Riley & Hogg Advertising 
Client: Dill Productions 

149 Art Director/Designer/Artist: Woody Pirtle 
Agency: The Richards Group 
Client: Jack Unruh 


150 Art Director: Peter Cotroulis 
- Designer/Artist: Michael Doret 
Agency: Michael Doret, Inc. 
Client: Future Thought 


Art & Photography 


EDITORIAL PHOTOGRAPHY: 


151 Art Director/Designer: Tony Lane 
Photographer: Annie Leibovitz 
Publisher: Rolling Stone 


152 Art Director/Designer: Ruth Ansel 
Photographer: Elliott Erwitt 
Publisher: The New York Times Magazine 


153 Art Director: Don Menell 
Designer: Michael Brock 
Photographer: Larry Dale Gordon 
Publisher: Oui 


154 Art Director: Herbert Wise 
Designer/ fea lil Norman Seeff 
Publisher: Flash Books 


155 Art Director/Designer: Ruth Ansel 
Photographer: Bob Adelman 
Editors: Lewis Bergman, Jack Rosenthal 
Publisher; The New York Times Magazine 


SALES PROMOTION PHOTOGRAPHY: 


156 Art Director/Designer: Kurt Weihs 
Photographer: Carl Fischer 
Writer: Rudy Fiala 
Agency: Lois Holland Callaway 
Client: Olivetti Corp. of America 


157 Art Directors: Boyd Jacobsen, Lee Ruggles 
Designer: Boyd Jacobsen 
Photographer: Craig Simpson 
Writer: John Vander Zee 
ee 
Client: Wells Fargo Bank 


158 Art Director/Designer: Don Weller 
Photographer: Chris Gallis 
Agency: The Weller Institute 
Client: The ADLA 


159 Art Director/Designer: Robert S. Nemser 
Artist: Clyde McWilliams 
Photographer: John Zoiner 
Writer: Bass & Co. Staff 
Agency: Nemser & Howard 
Client: Monica Simone Cosmetics 


EDITORIAL ILLUSTRATION: 


160 Art Director/Designer: Ruth Ansel 
Artist: Anita Siegel 
Editors: Lewis Bergman, Jack Rosenthal 
Publisher: The New York Times Magazine 


161 Art Director: Mike Salisbury 
Designers: Mike Salisbury, Lloyd Ziff 
Artist: Robert Grossman 
Publisher: Rolling Stone 


162 Art Director/Designer: Ruth Ansel 
Artist: Christian Piper 
Editors: Lewis Bergman, Jack Rosenthal 
Publisher: The New York Times Magazine 


27 


28 

163 Art Director: Anmad Sadiq 
Designers: Frank DeVino, Hector Marrero 
Artist: Christian Piper 
Publisher: Viva 


164 Art Director: Walter Bernard 
Artist: James McMullan 
Publisher: New York Magazine 


SALES PROMOTION ART; 
165 Art Director/Designer: Richard Wilde 
Artist: Robert Weaver 
Writer: Dee Ito 
Agency: School of Visual Arts 
Client: School of Visual Arts 


166 Art Director: Rollin Binzer 


167 


Designer/Artist: Charles E. White, III 
Agency: Fluid Drive 
Client: Rolling Stones 


167 Art Directors: Ann King, Judith Hersley 
Designer: Ann King 
Artist: Jerome Snyder 
Writer: Judith Hersley 
eal Foote, Cone & Belding 
Client: U.S. Department of Agriculture 


BOOK ART: 


168 Art Director/Designer/Artist: Uli Boege 
Photographer: Jean-Marie Guyaux 
Writer: Uli Boege— from the Franz Kafka piece 
Publisher: Links Books 


ffe 
oy 
aE 


~~ 


DENN 


he New Mork Times Magazine 


\ 
i 1 


ren 


} Weert | 


175 


ITZ EXPLAINED: 


Py 


ART COVER: 


169 Art Director/Designer: Ruth Ansel 
Artist: Ralph Steadman 
Editors: Lewis Bergman, Jack Rosenthal 
Publisher: The New York Times Magazine 


170 Art Director: Ruth Ansel 
Designer/Artist: Seymour Chwast 
Publisher: The New Yerk Times Magazine 
171 Art Director: Tony Lyle 
Designer/Artist: Seymour Chwast 
Publisher: The Pennsylvania Gazette 
172 Art Director: Ruth Ansel 
Designer/Artist: Michael Doret 
Publisher: The New York Times Magazine 


HEM ALIN RR | 
STUN SEE, i 


NTRALZ 


One two, buckle myshoe. 
Three, four fall on thefloor. 


Ss, 
t 
<= 


International Advertising 
and Editorial 
and Graphic Design 


The majority of One Show International 
nominees did not arrive in time to meet our 

press deadline but we supply herewith 

what information we do have, and will try 

to show the remainder in a future edition of “U&lc 


INTERNATIONAL MAGAZINE AD CAMPAIGN: 


173 Art Director/Designer: Gordon Trembath 
Writer: Lionel Hunt 
Photographers: John Beale, Bob Bourne 
Agency: Pritchard Wood-Quadrant 
Client: Clarks Shoes 


174 Art Director/Designer: Mike Fromowitz 
Writers: Mike Gill, Mike Fromowitz 
Photographer: Gillean Proctor Studio 
Agency: J. Walter Thompson, Toronto 
Client: Guinness Canada 


NEWSPAPER ADS: 


175 Art Director/Designer: Brian Harrod 
Writer: Allan Kazmer 
Artist: Tony Ken 
Agency: McCann-Erickson, Toronto 
Client: Gordon Kent 


176 Art Directors: Hiroaki Koga, Tadashi Ishiura 
Writer: Kazuo 
Designers: Tadashi Ishiura, Yasunobu Aso 
Photographer: Kazuo Aoki 
Agency: Hakuhodo, Tokyo 
Client: Komatsu, Ltd. 


177 Art Directors: Gordon Trembath, Lindsay Crethar 
Writer: Lionel Hunt 
Designer: Gordon Trembath 
Photographer: Brian Morris 
Agency: The Campaign Palace, South Melbourne 
Client: Wrangler 


ADVERTISING ART & PHOTOGRAPHY: 


178 Art Director: Rolland Della Monte 
Photographer: Philippe Quidor 
Writers: Marie Petit, Michel Cleiron 
Agency: Synergie/K&E Paris 
Client: Club Mediterranee 


GRAPHIC DESIGN /LETTERHEADS: 


179 Art Directors: Marcello Minale, Brian 
Tattersfield 
Designers: Marcello Minale, Brian Tattersfield, 
Alex Maranzano 
Agency: Minale, Tattersfield, Provinciali, London 
Client: Fox, Ltd. 


180 Cinzano, 
Tragos Bonnange Wiessendanger Arjoldi, Paris 


181 Mary Quant, 
Aalders & Marchant Agency, London 


TELEVISION: 


182 Benson & Hedges, 
Brooks Fulford Cramer 


183 Teflon, 
Tragos Bonnange Wiessendanger Arjoldi, Paris 


ADVERTISING ART & PHOTOGRAPHY: 


184 Cinzano, 
Tragos Bonnange Wiessendanger Arjoldi, 
Paris ~ 


INTERNATIONAL GRAPHIC DESIGN: 


185 Absorba, 
David Pocknell, Rotten End House, Essex 


186 Safety Matches, 
Pentagram, London 


Quick, name 
the type shop that 
set this ad. 


More than likely, you can 
name the agency that has 
the Volvo account. You may 
even know the art directors 
who made this 


campaign famous. ee 
But the type shop wor Mone EET aes 


that set it all? ee 
Who really knows? 
And sometimes ont 
we wonder if any- a 
body really cares. 
So we're here 
to do a little bit of 
self-promoting. 
You see, we are 
the Advertising 
Typographers Association 
of America, a select member 
organization of the foremost 
advertising typographers in 
the United States and 
Canada. Which means that 
our standards for quality are 
the hallmarks of the industry. 


But quality doesn’t count 
for much if it’s not backed 
up with service. So we work 
very hard at getting to know 
what you like, to — 
stay at least one 
step ahead of your 
needs and your 
expectations. 

We'll have that 
what-do-you-call-it 
type face and your 
repros when you 
need them. And 
because we offer 
such a wide, wide 
range of services, 
chances are your job can be 
done under one roof. 

So the next time you're 
working on a great print 
campaign, let an ATA shop 
help. We could easily do 
for you what we've already 
done for so many others. 


me. oman. 


The quality shops of ATA. We know your type. 


Advertising Typographers Association of America, 461 Eighth Avenue, New York, N.Y. 10001, Walter A. Dew, Jr., Executive Secretary 


29 


AKRON, OHIO 
The Akron Typesetting Co. 


ATLANTA, GEORGIA 
Action Graphics, Inc. 


BALTIMORE, MARYLAND 
Maran Printing Services 


BENTON HARBOR, MICHIGAN 
Type House, Inc. 


BLOOMFIELD, CONNECTICUT 
New England Typographic 
Service, Inc. 


BOSTON, MASSACHUSETTS 
Berkeley Typographers, Inc. 


Composing Room of New England 


CHICAGO, ILLINOIS 
J.M. Bundscho, Inc. 


Frederic Ryder Company 
Total Typography, Inc. 


CLEVELAND, OHIO 
Bohme & Blinkmann, Inc. 


COLUMBUS, OHIO 
Yaeger Typesetting Co., Inc. 


DALLAS, TEXAS 
Jaggars-Chiles-Stovall, Inc. 


Southwestern Typographics, Inc. 


DENVER, COLORADO 
Hoflund Graphics 


DETROIT, MICHIGAN 
Willens/Headliners 


HOUSTON, TEXAS 
The Type House, Inc. 


INDIANAPOLIS, INDIANA 
Typoservice Corporation 


MEMPHIS, TENNESSEE 
Graphic Arts, Inc. 


MIAMI, FLORIDA 
Wrightson Typesetting, Inc. 


MINNEAPOLIS, MINNESOTA 
D Jurry, Ine. 


Duragraph, Ine. 


NASHVILLE, TENNESSEE 
Typographers, Inc. 


NEWARK, NEW JERSEY 
Patrick and Highton Typographers 


NEW YORK, NEW YORK 
Advertising Agencies/Headliners 


Artintype-Metro 
the Composing Room, inc. 
Franklin Typographers, Inc. 
King-Weltz Graphics 
Master Typo Company, Ine. 
Royal Typographers, Inc. 
Tri-Arts Press, Ine. 
TypoGraphics 
Communications, Inc. 
Volk & Huxley, Ine. 


PHILADELPHIA, PENNA. 
Walter T. Armstrong, Inc. 


Typographic Service, Inc. 


PHOENIX, ARIZONA 
Morneau Typographers, Inc. 


PITTSBURGH, PENNA. 
Davis & Warde, Inc. 


PORTLAND, OREGON 
Paul O. Giesey Aderafters, Inc. 


ROCHESTER, NEW YORK 
Rochester Mono/Headliners 


SYRACUSE, NEW YORK 
Dix Typesetting Co., Ine. 


TORONTO, CANADA 
Cooper & Beatty, Ltd. 


MONTREAL, CANADA 
McLean Brothers Ltd. 


BRISBANE, QLD., AUSTRALIA 
Savage & Co., Ltd. 


SOLNA, SWEDEN 
Typografen AB 


30 


And an art director or designer may come off looking 
like an ordinary layout man if the type he buys is set on the 
wrong machine. 

Fiddles have their place. For example, they’re great for 
square dances. And a typesetting machine designed for 
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for that purpose. 

But when you're playing Carnegie Hall, you'd better find 
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by Alphatype. 

AlphaSette incorporates exclusive features that enable it 
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AlphaSette is also the world’s most versatile phototype - 
setting system, with more than 2,000 typefaces 


This ad was composed on the AlphaSette System 


A concert violinist is just a fiddler 
if he isn't playing the right violin. 


available to you on short notice— in many cases, 
overnight! (And our fonts are priced low enough so 

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When you consider quality typography, consider 
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PS.: Drop us a note for complimentary brochures 
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y & 
alphatype corporation 
7500 McCormick Boulevard 
Skokie, Illinois 60076/312-675-7210 


A bargain! 

The world’s most complete and most 
efficient type books—the only ones you'll 
ever need—can be yours. Merely send us 
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More than 2500 faces for $50! 


Please send me sets of your new 
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I understand that you will register me, so that 

I will receive all subsequent supplements to the 
books at no extra charge. 

Enclosed please find 1) check 1) money order 
(please no cash) for $ ($50.00 per set). 
I understand that Frederic Ryder Company 
pays all postage and that this offer is good only 
when payment is accompanied by this coupon. 


Send these books to: 
name 

¥ title 
company 

NM address 

| state zip 
Frederic Ryder Company 


| North Dearborn Street, Chicago 60610 


All this! 


sturdy, black, storage box. 


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Competently designed! 
The set was designed by typophile Arie 
Verploegh, chairman of RyderTypes and 


David L. Burke, creator of the Burko Series. 


Production was supervised by one of the 
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president of RyderTypes. 


2112 type faces are in these two handsome 
volumes and 635 more in the three supple- 
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Additional supplements are published as 
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cost. Your set will always be up-to-date. 


Wow! 


Something for everyone! 


Souvenir Medium 


How 

esthetic Cry ah bey) 
Good design is design. 
ASCHER RIRLMNOPORSTUNWRVZAE 234567890 


How is one to assess and evaluate a type face in terms of #- =~ 
esthetic design? Why do pacemakers in the art of printing 
Good design is always practical design. Your chair, or your 
ABCDEFGHUKLMNOPQRSTUVWXYZA = $1234567890 

How is one to assess and evaluate a type face in terms of * ~~ 
esthetic design? Why do pacemakers in the art of printing 
Good design is always practical design. Your chair, or your 
ABCDEFGHIJKLMNOPQRSTUVWXYZA 9 $1234567890 

How is one to assess and evaluate a type face in term * *-~ 
esthetic design? Why do pacemakers in the art of print 
Good design is always practical design. Your chair, or y 
ABCDEFGHIJKLMNOPQRSTUVWXYZA $1234567! 

How is one to assess and evaluate a type fac * ~~ 
esthetic design? Why do pacemakers in the a 
Good design is always practical design. Your c 
ABCDEFGHIJKLMNOPQRSTUVWXYZA $ 


ow none to aasees we avalumte w type face in term of emthetic design? Wy do pacmlters in the art af printing rave ove 


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31 


Who needs it? 


Anyone reading this publication probably 
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Send for yours today! Remember, 

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Nothing is left to the imagination. 

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All text sizes from 4 to 36 point are shown 
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P99U NOA 
SJOJSELU UBAOIC JAUJO 
pue “D1 ] ‘aye 
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D30U NOA J 


33 


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‘Auedwo7 adAjoul] sajeyujyuasiay 


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‘Auedwo7 adAjour] sajyeyyuassay ye siaAg aAa}S 10 JayxIeg AIP }9e}UOD . 
wei80id add} ino jnoge UONeWIOJU! 104 *sJa}SeLU PaBpajmouyde ay} Aq susIsap adA} 
MAU SUOISSILUWOD puke ‘Salas adA} paysijqe}sea JO SUOISIAA NJ} JY} SASUddI| 
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suoljeioosse asay} ysnoiyy] ‘weisoid Juawdojacap add} asnoy-ul Ayyeay e pue 
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‘sa1uedwos jo dnoiy sajeujuassay ay} Aq painjoejnuew saulysew 8uljjasedA} ayy UO 
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‘Ja/eCUUISJOW\J— WO} aij 


DYMO 
GRAPHIC 


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I 
\ )\ VISUAL GRAPHICS 
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(1 Please send more information on the 3000. 


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] From the makers of the Pos One System™ Giese 


LS ee ee 


36 


Technology helping automzg® 
Technology helping auigff 
Technology helping al ‘ 
Technology helping 2 
Technology helping 
Technology helping at 
Technology helping 
Technology helping 
shnology helping 


al word. Technology helping automate the printed word. Technology he 
og oe a me Cn OroRY helping automate the printed word. Technology h 
Re logy helping automate the printed word. Technology hel 
aa logy helping automate the printed word. Technology he 
me ology helping automate the printed word. Technolog 
Py helping automate the printed word. Technology helping autc 
y echnology helping automate the printed word. Technology he 
word. Technology helping automate the printed word. Technology h 
eu word. Technology helping automate the printed word. Technology helping au 
ology helping automate the printed word. Technology helping automate the printed word. Technology helping automa 
Sorinted word. Technology helping automate the printed word. Tech 
suted word. Technology helping automate the printed word. Tech 
chnology helping automate the printed word. Technology helping automate the 
snology helping automate the printed word. Technology helping automate 1 
Bloggy helping automate the printed word. Technology helping automate 
ology helping automate the printed word. Technology helping 
mology helping automate the printed word. Technology hel 
SV helping automate the printed word_ Technology hel; 
sate the printed word. Technology helping Himita..the printec 


Ba helping automat me . 
NAY beng ; 


ete the printed word. “Jechnology he Tl 
é Rockwell slogy helping automate thé 
Internationa av helping automate *@ 


MGD Graphic Systems Group 
2735 Curtiss Street 

Downers Grove, Illinois 60515 
Telephone (31 2) 963-4600 


weemmiate the printed wor 
: mte the printed v, 


C. Beardsley / C. De Sisto 


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waht sh i 

c we mores please penis) argiseach \ 
3 oROERHOR SS tundson i 

1 senysiae USA mr “Fond ee jnnorde) i 
dT Orders ckor mone | 
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pattie Cr 
Sew eee ee ee ee ee ee ol 


Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for tre 
fnadens, ordningens och ekonomiens uppratthallande, och dock ar d 
et icke sallan som sorgliga erfarenheter géras pa grund af det ofdrst 
and med hvilket kaster, formbriiden och regaler tillverkas och forsal 
jas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, as 
amka snart nog officinen extra kostnader i reparationer. Kasten bér 
vara af kvistfritt och torrt tra, kannas latt, och bottnen bér icke var 
a limmad men diremot vil fastad med skrufvar saval rundt kantern 
asom den grofre midtbalken samt ytterligare med en skruf i krysse 
n mellan facken. Framstycket med rand bor vara af ett fastare tras] 
ag, sasom bjork eller rédbok samt helst fér trefnadens skull fernissa 
dt, det kan da afven vid eventuellt behov aftvattas. Bottenmellanlag 
get bér vara af godt tjockt papper, som icke uppléses af vatten, och 
ligga fullkomligt slatt utan vagor. Alla mellanvaggarne i ladan béra 
sitta stadigt och na sé hégt upp i urskaérningen, att de fylla densam 
ma dinda upp idess langdriktning, sa att stycket icke kan lyfta sig fr 
an bottnen efter nagon tids torkning. Kaster som icke uppfylla dess 
a fordringar borde aldrig accepteras sésom fullgodt fabrikat, de blif 
ai langden alltfor dyra! Traéutensilierna i ett tryckeri dro ingalunda 
en oviktig faktor, for trefnadens, ordningens och ekonomiens upprat 
thallande, och dock ar det icke sallan som sorgliga erfarenheter goéra 
s pa grund af det oférstand med hvilket kaster, formbraden och rega 
ler tillverkas och férsiljas. Kaster som dro daligt hopkomna och af 0 
12345678901234567890 1234567890 1234567890 1234567890 1234567890 


CENTURY EXPANDED (TAAC) 


Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefn 
ordningens och ekonomiens uppratthallande, och dock ar det icke sall 
som sorgliga erfarenheter géras pa grund af det oférstand med hvilke 
kaster, formbraden och regaler tillverkas och forsaljas. Kaster som ar 
daligt hopkomna och af otillrackligt torrt tra, 4samka snart nog officin 
extra kostnader i reparationer. Kasten bor vara af kvistfritt och torrt t 


37 


Trautensiliernai ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, o 
och ekonomiens uppratthallande, och dock ar det icke sallan som sorgliga er 
géras pa grund af det oférstand med hvilket kaster, formbraden och regaler ti 
och férsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, as 
snart nog officinen extra kostnader i reparationer. Kasten bér vara af kvistfri 
och torrt tra, kannas latt, och bottnen bir icke varalimmad men daremot val 
fastad med skrufvar saval rundt kanternasom den gréfre midtbalken samt y 
med enskrufikryssen mellan facken. Framstycket med rand bor vara af ett f 
traslag, sasom bjork eller rédbok samt helst for trefnadens skull fernissadt, d 
kanda afven vid eventuellt behov aftvattas. Bottenmellanlagget bor vara af go 
tiockt papper, som icke uppléses af vatten, och ligga fullkomligt slatt utan vag 
Alla mellanvaggarne i ladan bora sitta stadigt och na sa hégt upp i urskérning 
att de fylladensamma anda upp i dess langdriktning, sa att stycket icke kan | 
sig fran bottnen efter nagon tids torkning. Kaster som icke uppfylla dessa for 
borde aldrig accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyr 
Trautensiliernai ett tryckeri aro ingalunda en oviktig faktor, fr trefnadens, o 
ochekonomiens uppratthallande, och dock ar det icke sallan som sorgliga er 
gras pa grund af det oférstand med hvilket kaster, formbraden och regaler ti 
och forsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, as 
snart nog officinen extra kostnader i reparationer. Kasten bir vara af kvistfri 
och torrt tra, kannas latt, och bottnen bor icke vara limmad men daremot val 
fastad med skrufvar saval rundt kanterna som den gréfre midtbalken samt y 
med en skrufikryssen mellan facken. Framstycket med rand br vara af ett f 
12345678901234567890123456789012345678901234567890125456789012354567 


WINDSOR LIGHT (TAAC) 


Trdutensilierna i ett tryckeri aro ingalunda en oviktig faktor, fér trefnad 
ordningens och ekonomiens uppratthallande, och dock ar det icke salla 
som sorgliga erfarenheter géras pa grund af det oférstand med hvilket k 
formbraden och regaler tillverkas och férsaljas. Kaster som aro daligt ho 
och af otillrackligt torrt tra, 4samka snart nog officinen extra kostnader 
i reparationer. Kasten bér vara af kvistfritt och torrt tra, kannas latt, och 


kannas latt, och bottnen bor icke 
med skrufvar saval rundt kanter 
med en skrufi kryssen mellan fa 
af ett fastare traslag, sasom bjérl 
skull fernissadt, det kan da afver 
bor vara af godt tjockt papper, so 
slatt utan vagor. Alla mellanvag 


_ SEX VALSKURNA KLASSIKER 
SOM VI GARNA SATTER MER AV. 
TYPOGRAFEN 


remot val fastad med skrufvar sav 
alken samt ytterligare med en skri 
med rand bor vara af ett fastare tra 
rtrefnadens skull fernissadt, det k 
as. Bottenmellanlagget bér vara a 
af vatten, och ligga fullkomligt sli 
dan borsitta stadigt och na sa hégt 


—1 


sa hégt upp i urskarningen, att d 
sa att stycket icke kan lyfta sig fran bottnen efter nagon tids torkning 
Kaster som icke uppfylla dessa fordringar borde aldrig accepteras sa 
fullgodt fabrikat, de blifva i langden alltfor dyra! Trautensilierna i et 
tryckeri aro ingalunda en oviktig faktor, for trefnadens, ordningens o 
ekonomiens uppratthallande, och dock ar det icke sallan som sorgliga 
erfarenheter goras pa grund af det oférstand med hvilket kaster, form 
briiden och regaler tillverkas och férsiljas. Kaster som aro daligt hop 
och af otillrackligt torrt tra, 4samka snart nog officinen extra kostnad 
ireparationer. Kasten bor vara af kvistfritt och torrt tra, kannas latt, o 
123456789012345678901234567890 1234567890123456789012345 


CENTURY OLD STYLE (TAAC) 

Trdautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, or 
och ekonomiens uppratthallande, och dock ar det icke sallan som sorgliga erfar 
goras pa grund af det oférstand med hvilket kaster, formbraden och regaler till 
och férsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asa 
snart nog officinen extra kostnader i reparationer. Kasten bor vara af kvistfritt 
och torrt tra, kannas latt, och bottnen bor icke vara limmad men daremot val fa 
med skrufvar saval rundt kanterna som den gréfre midtbalken samt ytterligare 
med en skruf i kryssen mellan facken. Framstycket med rand bor vara af ett fast 
traslag, sasom bjork eller rodbok samt helst for trefnadens skull fernissadt, det 
kan da afven vid behov aftvattas. Bottenmellanlagget bér vara af godt tjockt pa 
som icke uppléses af vatten, och ligga fullkomligt slatt utan vagor. Alla mella 
i ladan bora sitta stadigt och na sa hégt upp i urskarningen, att de fylla densam 
ainda upp i dess langdriktning, sa att stycket icke kan lyfta sig fran bottnen efter 
nagon tids torkning. Kaster som icke uppfylla dessa fordringar borde aldrig acc 
sasom fullgodt fabrikat, de blifva ilangden alltfér dyra! Trautensilierna i ett trycke 
aro ingalunda en oviktig faktor, fr trefnadens, ordningens och ekonomiens up 
och dock ar det icke sallan som sorgliga erfarenheter géras pa grund af det ofor 
med hvilket kaster, formbraden och regaler tillverkas och forsdljas. Kaster som 
aro daligt hopkomna och af otillrackligt torrt tra, asamka snart nog officinen ex 
kostnader i reparationer. Kasten bor vara af kvistfritt och torrt tra, kannas latt 
och bottnen bér icke vara limmad men daremot val fastad med skrufvar saval r 
kanterna som den gréfre midtbalken samt ytterligare med en skruf i kryssen m 
facken. Framstycket med rand bér vara af ett fastare traslag, sasom bjork eller r 


12345678901234567890123456789012345678901234567890123456789 


GARAMOND (TAAC) 


mma anda upp i dess langdriktnit 
sa att stycket icke kan lyfta sig fran bottnen efter nagon tids torkning. Ka 
som icke uppfylla dessa fordringar borde aldrig accepteras sasom fullgo 
fabrikat, de blifva i langden alltfor dyra \Trautensilierna i ett tryckeri ar 
ingalunda en oviktig faktor, for trefmadens, ordningens och ekonomiens 
uppratthallande, och dock ar det icke sallan som sorgliga erfarenheter g 
pa grund af det oférstand med hvilket kaster, formbraden och regaler til 
och férsaljas. Kaster som aro daligt hopkomna och af otillrackligt torrt t 
4samka snart nog officinen extra kostnader i reparationer. Kasten bér va 
af kvistfritt och torrt tra, kannas latt, och bottnen bér icke vara limmad 
1234567890123456789012.34567 8901234567 89012.345678901234567890123 
TRUMP (TAAC) 
Trautensilierna i ett tryckeri aro ingalunda en oviktig faktor, for trefnadens, ordningens 
ordningens och ekonomiens uppratthallande, och dock ar det icke séllan som sorgliga 
erfarenheter géras pa grund af det oférstand med hvilket kaster, formbraden och regal — 
regaler tillverkas och férsaljas. Kaster som aro daligt hopkomna och af otillrackligt to 
torrt tra, asamka snart nog officinen extra kostnader i reparationer. Kasten bor vara af 
kvistfritt och torrt tra, kannas latt, och bottnen bér icke vara limmad men daremot va 
val fastad med skrufvar saval rundt kanterna som den gréfre midtbalken samt ytterlig 
ytterligare med en skruf i kryssen mellan facken. Framstycket med rand bér vara af et 
ett fastare traslag, sasom bjork eller rodbok samt helst for trefnadens skull fernissadt, d 
det kan da afven vid eventuellt behov aftvattas. Bottenmellanlagget bor vara af godt t 
tjockt papper, som icke uppléses af vatten, och ligga fullkomligt slatt utan vagor. Alla 
mellanvaggarne i ladan bor sitta stadigt och na sa hégt upp i urskarningen, att de fylla 
densamma anda upp i dess langdriktning, sa att stycket icke kan lyfta sig fran bottnen 
efter nagon tids torkning. Kaster som icke uppfylla dessa fordringar borde aldng acce 
accepteras sasom fullgodt fabrikat, de blifva i langden alltfor dyra! ‘Trautensilierna 1 ett 
tryckeri aro ingalunda en oviktig faktor, for trefnadens, ordningens och ekonomiens u 
uppratthallande, och dock ar det icke sallan som sorgliga erfarenheter géras pa grund a 
det oforstand med hvilket kaster, formbraden och regaler tillverkas och forsaljas. K 
Kaster som aro daligt hopkomna och af otillrackligt torrt tra, asamka snart nog officin 
officinen extra kostnader 1 reparationer. Kasten bor vara af kvistfritt och torrt tra, kan 
kannas latt, och bottnen bor icke vara limmad men daremot val fastad med skrufvar s 
saval rundt kanterna som den gréfre midtbalken samt ytterligare med en skruf i krysse 
kryssen mellan facken. Framstycket med rand bor vara af ett fastare traslag, sasom bj 
bjork eller rodbok samt helst fér trefnadens skull fernissadt, det kan da afven vid even 
eventuellt behov aftvattas. Bottenmellanlagget bér vara af godt tjockt papper, som icke 
123456789012345678901 2345678901 2345678901 2345678901234 


CHELTENHAM OLD STYLE (TAAC) 


TYPOGRAFEN AB, PYRAMIDVAGEN 7, 17123 SOLNA 1, TEL 08-27 27 60 TYPOGRAFEN AB, MALMO, TEL 040-11 2650, 11 2660 
Ty/PHO/GRAFEN A/S, KOBENHAVN, TEL 01-15 1134 NORSKE TYPOGRAFEN A.S, OSLO TLF. (02) 3300 19, 332001 OY SUOMEN TYPOGRAFI, HELSINKI PUH. 13695 


38 


_ 


CLIP BOOK OF LINE ART 


I/ 


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That's right! Pick any five of the newest “Clip 
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\ 
an 


FAI ge? 


DY \ ee 
Pr \¢ t 


AAM 
Clip Book of Line Art 


( Aathe (oaalken sexes 


gad 


( Sn the Gualilea setied, ) 


Insurance 
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SUMMER 
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SPRING 


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VES! WE'LL TAKE THESE & FREE 
ae ARS oni. 


(We've listed our bonus books by number above) 


VOLK CORPORATION, BOX 72L 
PLEASANTVILLE, N.J. 08232 


Please rush the five gift books which we've listed 
by number above. We will be free to clip and use 
the art without extra cost in connection with our 
limited 5-month trial subscription to the “Clip 
Book of Line Art” at only $59.95. No further 
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CJ We wish to save 10 percent (your book- 
keeping and billing costs) - our cheek for $53.95, 
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Firm Name (Please Print) 


a ae a SS a Sk tt fot 


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Oris 


a patient writes... 


Dear Doctor, 


Please help me fast. I’m being stifled in my creative endeavors 
by the type selection available to me. I don’t know how it 
happened, it must have crept up on me slowly. But the pains 
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signed... Desperate 


a doctor answers... 


Dear Desperate, 


Your symptoms are serious and clearly indicate “typomortis” 
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You are a lucky individual to have found out so soon. You 
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The Type Division of Compugraphic Corporation is dedi- 
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Typographically yours, Dr. Stan Serif 


Compugraphic averages two new typeface releases every 
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faces available in our extensive library. And this means you! 


ec 


4 \ 
l Please rush me a type transfusion | 
(your free Typeface Specimens). | 
| [] Please contact me to arrange a house call. J 
\ Name / | 


Position 
N Company 


FS Address 
& compugraphic 7 re 
Compugraphic Corporation } ny 
Type Division State Zip 
66 Concord Street i} Phone 


Wilmington, Mass. 01887 " 


40 


What you see is 
what you set. 


Check these outstanding features 


0 4 fonts on-line 

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e.con LORD we 5 g.< 


er La 


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Introducing the Comp/Se 


& fe ce J 
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the low-cost* unit that’s revolutionizing typesetting. 


The Comp/Set 500 direct entry phototypesetter is 
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The Comp/Set 500 is remarkably versatile. Four 
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Versatile as it is, the Comp/Set 500 is remarkably 
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But to fully appreciate what the Comp/Set 500 
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0 Please send a type specimen booklet 
name 
title 
company 


address 


city 


*Lease payments as low as $265 
per month; subject to change. 


All the type in this ad was composed on 


the Comp/Set 500 phototypesetter, 


O Please send full details on the Comp/Set 500 
OC Please arrange a demonstration of the Comp/Set 500 


et a er 


™ 500 direct entry phototypesetter, 


Pinuuinee| is the name of a new short-run color 
proofing system for artists, designers and produc- 
tion people. With it, black and white paste-ups or 
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Pinwheel color proofing produces advertising 


comps, package dummies, decals, TV color correc- 
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Unbelievably versatile, the process can provide one 
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Pinuuinee| has adapted, developed and refined a 


time-tested process and it is now being made avail- 
able through locally operated studios. The method 
is so good that the New York Pinwheel customer 
list reads like a who’s who of the world’s great 
designers. Soon, the most progressive typographer 
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proofs. Send the coupon now for more information. 


Pinwheel Systems, Inc. 
404 Park Avenue South, New York, N.Y, 10016 
Gentlemen: 

Please send me your free booklet, 
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color proofs. 


Name 


Company 
Address 
Zip 
TES SD PRE AE] A SR AT CRE CY PS 


ATTENTION TYPOGRAPHERS 
If you are presently equipped with high quality camera and processing 
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arent 


“Pinwheel” is a trade mark of John N. Schaedler, Inc. 


41 


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ne P. O. Box 187 — 114 Beach St., Rockaway, N. J, 07866 Phone (201) 625-4400 DIAL TOLL FREE (800) 631-9353 


The overwhelming number of requests to be placed on our 
mailing list has made it impossible for us to respond on an 


individual basis. New names are added as soon as they are 
received. These will receive all future issues. 


We have also received many requests for back copies of 
U&Ic. U&Ic is mailed under application for special postal 
rates, but we are not permitted to mail “back copies” at 

_ these rates. We regret, therefore, that we must charge for 
back issues. 


While a limited supply lasts, copies of U&lc Nos. 2,3 and 4 
will be available at $1.50 per copy to cover postage and 
handling. All orders will be filled on a first come, first 
served basis. Please include your check payable to ITC, 
specify issue number, and mail to International Typeface 
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Lubalin Graph is available for 
machine composition in sizes 
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is shown here as it has been 
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20 point Extra Light. Lulbbalin 
Graph is also available in 
Typositor® Typography for head- 
lines and display sizes. 


> 


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&& 


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Add Impact To Your Advertising with “type that talks” 


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YORK TYPE/PETER PICA, INC. cK Canal Street, New York 10013/925-3364 
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American Typewriter is available for 
machine composition in sizes 6, 7, 8, 
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and 36 point. This beautiful typeface 
was designed in a normal and con- 
densed series—Light, Medium, 
Bold, Light Condensed, Medium 
Condensed and Bold Condensed, and 
is shown here as it has been photo- 
typeset on TGC’s VIPs in 24 point 
Light Condensed. This series is also 
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in Typositor Typography; 


*American Typewriter Bold Outline is also available in Typositor Typography. 


conn ications, Inc. 
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SSS See ee SS SE ee eS 
This is a book shop that 
comes fo you. It brings 

you the new ideas, the 
newest and the best of 
graphic solutions to com- 
munications problems, . 
and the latest and most 
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new technologies, meth- 
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the commentary revealing the 
mind and spirit behind the 


Apractical workbook for the 


*106—Packaging 
graphic designer including 


By Robert G. Neubauer 


work, revealing artist-to-client initi complete showings of ke 
you need. Every book relationships, the problems Scene eien typefaces. All ehoracters ; 
listed here was carefully behind the solutions.Thisis make the package a more shown— caps, lower case, 


a book for all seasons — for 

browsing, for thinking, for 

swipe filing and for inspiration 

in the best sense of the term. 
242 pgs.10% x 10%. 


figures, special characters, 

punctuation marks. Each text 
size set solid and leaded. Con- 
tains an informative history of 
the origins and current status 


effective means of communi- 
cation,analyzescurrent trends, 
discusses elements required 


reviewed by UGIc editors 
and selected from all those available to offer you the 
best of the current crop and coverage of a wide range 


of subjects. Special offer: Order The 53rd Art Directors = $30.00. OS eae Bk x 11,818.95 
Annual (book # 101, regularly $25.00) and any other Ai it snelalt ; a el 
book and pay only $20.00 for The 53rd ADC Annual. By James Craig cana bee 
Written by a designer for the By William Mann 
designer. Covers typesetting, A fascinating range of 


printing, paper, inks, binding/ 
folding/imposition, and prep- 
aration of mechanicals. A 
basic fact book. Glossary of 
1100 entries. Paper section 


unusual styles. Not a how-to 

book but rather a source of 

visual joy and a stimulus to 
one! 


effective, describes character- 
istics and functions of many ; 
kinds of packages. : 
208 pgs. 8% x 1034, 253 
b/w photos, 33 color. $20,00. 


*107—Publication Design 


creating letters with a flavor 
By Allen Hurlburt 


appropriate to the message. 


A guide to page layout, Showings drawn from print 
typography, format and style media, folk art, entertainment, 
INTHE WINTER OF 100 by an internationally recog- industry and architecture. 


96 pgs. 10 x 7.32 color 
pgs. 130 halftones. $7.95. 


#*110—Letter and Image 
By Massin 
Acomprehensive anthology 


RBA DIRECIORS, COPY ue 

WAITERS AND Gi lists papers by generic names, 
describes their characteristics 
and uses, Type specimens. An 

excellent table of comparative 


typesetting systems. Bibliog- 


DESIGNERS SPENT A TOIL 
OFS2CD HOURS JULEING 
4OGED PECES OF ESIGN 
AND ADVERTISNG ONLY 


1059 WERE CONSIDERED raphy index showing how man has used 
GGDD ENOUGH TO GET . Pca pgs. 8% x 11, Over 400 letters as pictorial symbols 
INIOTHSBQK. illustrations. $18.50. since ancient times for com- 
(ee aaa munication or decoration or in 
*104 and *105— fine art. Much fun to look at, 
Trade Marks & Symbols ——- 
By Yasaburo Kuwayama ecunenstteTaLe = 


Volume | shows over 1500 
alphabetical designs from 
around the world. Indexes list 
company names, type of in- 
dustry, product or service, and 
designer. Historical review of 


LETTER 
AND 
IMAGE 


hy Massin 


nized authority, Basic ideas 
and current techniques of top 
designers as well as the 
process of publication design 
with full coverage of the design 
elements; a technical section 
on color, typography and pro- 


#101—The 55rd Annual of Advertising, Editorial and 
Television Art and Design with the 14th Annual Copy 
Awards. A complete visual record of the most impor- 
tant competition in the communications arts, The One 
Show, a joint effort of the Art Directors Club and the 
Copy Club of New York. The 1100 entries include the Art 
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Key awards. Categories include print, radio and TV Re norrecene ek i ee wy HEINHOLD 
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designed and produced. 750 pgs. 8/2 x 11. $25.00 

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138 pgs. 8% x9%.$16.95. the 1106 illustrations grab 
you. Unique collection of 
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288 pgs. 8% x 10%.$20,00. 


#111—Graphic Arts Manual 
Edward M. Gottschall, 
Executive Editor 
Michael Bruno, Paul Doebler, 
Editorial Consultants 

This is the most complete, 
most up-to-the-minute, most 
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#*108—Type and Typography 
By Ben Rosen 


marks in the West and in 
Japan, their varieties, roles, 
formative components. Vol- 
ume Il is similarly indexed, 
reviews changing of marks 
with the times, similarities, 
design competitions, and 


*102—Milton Glaser 
Graphic Design 
By Milton Glaser 
One of the year’s most beau- 
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compendium of information 
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inks make this a unique 
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: 
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matter includes bibliography, 
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850 pgs. 8% x 11, $43.50. 


#112—Calligraphic 
Lettering, 3rd Ed. 
By Ralph Douglass 
A basic introduction to the 


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ihe 
Lettering 
it's 
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J U 


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tools, techniques, historic and 
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112 pgs. 7% x 10%. $6.95. 


#*113—Top Symbols and 
Trademarks of The World 
Ed: Franco Maria Ricci, 
Corrina Ferrari 

Ahuge collection of some 
5000 marks in over 3000 


pages. From 30 countries, 
they represent the work of 
over 1200 designers. This 
seven volume set features 
yearly update supplements. 
Each section features intro- 


duction bysuch leading design 


critics as George Nelson, 
Burton Kramer, Colin Forbes, 
Pieter Brattinga, others. 
Indexed by designer, studio 


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3000 pgs.$ 135.00. 


#114—The Corporate 
Search for Visual Identity 
By Ben Rosen 


Acomprehensive and pene- 


trating analysis of corporate 


i] 
3 


Bs ALMLNOA TK 


symbolism. Explains the 
graphic thinking behind pack- 
ages, interior design, display, 
logos, etc. of 15 top corpora- 
tions and tells why each is 
highly effective. 

259 pgs. 9x 12.250 
illustrations, $20.00. 


#115—Graphic Design Manual 


By Armin Hofmann 
Amethodical approach to 
design problems taking the 
reader beyond the pictorial 
idea to a definitive graphic 


GRAPHIC 
DESIGN 
MANUAL 


form language. Progresses 
fromrudimentsto complicated 
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foundation upon which a 
personal style can be built. 
172 pgs. 8% x 9%. $12.95. 


*116—Design.and 
Art Direction’74 
This is the 12th Annual of 
British graphics. A record of 


ee 


the year's best in advertising 
conception, graphics, editorial 
design, art and photography, 
television and cinema advertis- 
ing, television and cinema 
graphics. 500 b/w 
photographs. 

360 pgs. 8% x 11%. $29.50. 


*117—European 
Ilustration "74 
Ed. Edward Booth-Clibborn 
Showcase for the talents of 
leading artists/illustrators in 
European publishing and 
communication. Covers book, 


luswation 


yropean 


advertising, television, cinema 
and design. Shows 350 sub- 
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224 pgs. 9x11.$36.50. 


#*118—Graphis Annual 
4-75 


Ed. Walter Herdeg 

A beautifully presented col- 
lection of the best advertising 
and editorial graphics from all 
over the world. This 23rd 
edition features 947 illustra- 
tions with 64 in full color. Fully 
indexed. Its stepped up cover 
age of editorial design rounds 


out its coverage of advertise- 
ments, annual reports, 
booklets, book jackets and 


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244 pgs. 9% x 12. $37.50. 


*119—Photographis 74 


Ed. Walter Herdeg 

This is the international 
annual of advertising, editorial, 
promotional and television 


photography, In the Graphis 
tradition, beautifully produced 
and fully indexed. Photog- 
raphers from 25 countries are 
represented. Covers a wide 


rangeof applications including diagrams visualizing functions, 


book jackets and albums, 
calendars and packaging, as 
well as the primary advertising, 
promotional and publishing 


media. 
248 pgs. 9% x 12.$33.00. 


*120—Graphis Posters 74 

Ed. Walter Herdeg 
An exciting cross-section of 

poster art around the world. 
Beautifully produced, fully 
indexed. Covers work from 37 
countries. Includes posters 
used for advertising, cultural 


events, social and decorative 
purposes. 
240 pgs. 9% x 12. $27.50. 


#121—Graphis 

Diagrams— 1974-75 
Ed. Walter Herdeg 

Anew Graphis book for the 
designer who needs to solve 
diagram problems with 
imagination as well as clarity. 
Itis a survey of proven 
techniques for combining 
legibility of information with 
ethically satisfying solutions. 
Covers statistical, comparative 
diagrams such as charts, 
graphs, tables; flow diagrams, 
organization and time charts; 


4A@ 


processes; tabulations, time 


gem 


raphis diagrams 


te 
| 


f 
Hl 


tables; cartographic diagrams, 
decorative maps, diagrams as 
design elements. 

Graphis Diagrams is inter- 
national in scope. It is the only 
book on the subject of 
diagrammatic graphics. 268 
illustrations, 86 in color. 

184 pgs. 9% x 9%. $24.50. 


*122—Graphis Record Covers 
Ed. Walter Herdeg 
Asutvey of record art from its 
early stages to the present. 
Starts with the pioneers, moves 
through the 1950's, the eras 


of jazz, light music, pop/rock/ 


beat/ and miscellaneous 
records. 44 pages in color. 
192 pgs. 9% x 9%. $21.50. 


To order any of these books, complete the coupon below or a copy 


of it and forward it with your check to the address below. 
a ee ee ee ee ee ee ee ee 


U&lIc Book Shop 
216 East 45th Street 


NAME 


Enclosed is my check for $ 


New York, N.Y. 10017 
Please enter my order for the books whose numbers are circled below: 


101 102 103 104 
109 110 4111+ #112 
17, VS UY 


105 106 107 108 
113. 114 «+115 116 
120° 120 122 


___, Allorders will be shipped postpaid. No COD’s. New York 
residents add sales tax. Shipments out of the United States, add 5%. 


ADDRESS 


CITY. 


STATE. 


ea 


Please Print 


i oa ar 


ZIP. 


Dear Sirs: 

I've just finished reading my first 
copy of your publication and it’s great. 
I'm sending along immediately my re- 
quest for future copies. Could I possibly 
get a copy of your first issue? Congratu- 
lations and long may you wave. 

Sincerely. 

John P. Sullivan 
Creative Art Director 
Goodren Productions 


Englewood, ¥.d. 


Gentlemen: 

I wish to thank you very, very much 
for my complimentary copy of U@lc re- 
ceived recently. It is a kind of publica- 
tion that I have wanted to see for a long 
time. My profession is cartography 
where type plays a very important part 
in this means of communication called 
maps. This aspect of cartography has 
not been given its due emphasis in this 
century and it has been one of my goals 
to bring the facts of good typography on 
maps to all my students. 

I would greatly appreciate receiving 
future complimentary copies of the 
Ue to be used to broaden my know- 
ledge of typographic design and to pro- 
vide reading material for my students of 
map design. The copies of U&lc will be 
available in our cartographic laboratory 
for all to refer to. Please send future 
copies to me personally as indicated on 
your address label attached. 

Sincerely, 
dames A. Bier 
Cartographer 
University of Illinois 
Urbana, Ill. 


Orarwer 

SCM Canpenanienw 
BIT James Srewer 
Sramestse, Men! Yorn 
“sees 


Dear Sirs. 

I just happened across the 2nd issue 
of U&lc and have been carrying it 
around for two days. reading it. showing 
it to people, until it is in shreds. Can you 
send me a replacement copy. add me to 
your mailing list. and —if at all 
possible —send along a copy of the first 
issue. 

The paper has been both an idea- 
generator and scourge for the times we 
didn’t pursue the possibilities of type to 
their fullest. 

Congratulations and continued suc- 
cess in the publication, 

Sincerely. 

Walter F. Giersbach 

Manager of Communications 
The Reuben H. Donnelley Corp. 
New York City 


Thank you gentlemen for two great is- 
sues of U@lc. This is just what the art’ 
field needed. 

It proved most valuable in the class- 
room. both in its editorial content and in 
its highly creative use of typography. 

Sincerely yours, 

Anthony Jd. Post 
New York City Community College 
Brooklyn, New York 


RSS SSS SS 
Folks: 

Read most of your last issue before 
the damned thing was swiped. Can I get 
on your mailing list too? 

Please?...Huh?...come on...Please let 
me on... promise to be good and work 
hard and...Can I?...I Can?....0h thanks 
forever...0! Boy!...aren’t you nice to 
me...now all I have to do is live up to the 
promises I made to you... hell. how am I 
gonna do that? 

Ataxically, 

Barry Gottlieb 
Abbott Advertising 
Richmond, Virginia 


Would you please put me 
ean your mailing list. 


2840 South 9™ Street 
Phila. Pa 19148 


Dear Mr, Lubalin, 

What makes you think this new 
magazine (U@lc) is good? This 
magazine is not good at all.. It's just the 
greatest thing since William Bernbach, 
the greatest use of type design since 
Ozzie Cooper or even George Lois. Why 
in heaven's name would anyone want to 
call U&lc a good magazine I will never 
understand. 

Young art directors like myself should 
have Uéllc every morning for breakfast, 
and as a rich dessert for lunch. 

God bless you guys for all you’re doing 
for the business. 

Respectfully yours, 

Ozzie Hawkins, Jr. 

J. Walter Thompson Co. 

Chicago, Illinois 

SSS ae] 
Gentlemen & Ladies; 

Just saw an issue of U&le-whoo boy. 
how do I go about convincing you that I 
am in sore need of such cultural enlight- 
enment and scholastic uplifting. 

Could you pretty please put me on 
your mailing list? I promise to read 
every issue. And I even would read both 
back issues if you could see your way 
clear to scrounge your files for them. 

Please don't sublimate latent sadistic 
tendencies on my request. The sooner I 
receive your publication. the more sec- 
ure I'll feel. 

Moochas graches. 

Paul Laurn 
Steelcase Inc. 
Grand Rapids, Michigan 


216 B45 TH. STRRET 
NEWYORE_, NY 10017 


Gentlemen: 

Encore! 

We in the art and production depart- 
ment at Wattenmaker have been dueling 
over who will get to keep your latest is- 
sue. Naturally we would like as many fu- 
ture issues as you can spare. Specifi- 
cally. we could use about three more 
copies; but. regardless of how many you 
send, your next issue is eagerly awaited. 

Sincerely. 

Nancy Petro 

Production Assistant 
Wattenmaker Advertising 
Cleveland, Ohio 


fa a ae | 
Dear Editor; 

We have seen U@lc and are mightily 
impressed. Fred Goudy would be proud. 
Please put us on your mailing list. 

Thank you kindly. 

David Erickson 

Public Relations/Publications 
University of Rochester 
Rochester, N.Y, 


Gentlemen: 

Just saw a copy of your publication, 
U@lc, and was extremely impressed by 
the quality of its design and execution. 
As I understand it, U&lc is sent out 
compliments of ITC —if so, please put us 
on your mailing list. If not, bill us. This 
is definitely a publication that will find a 
home on our type bookshelf. Hope the 
first few issues are still available — 
even a xerox copy would be greatly ap- 
preciated. Again my compliments on a 
superb job —it’s about time this was 
done, and done well. Til next time, stay 
well. 

Sincerely, 

James Steranko 
Supergraphics 
Reading, Pa. 


For future free copies 

of USde, you must send 

In this coupon ora, 

sitnilar request to remain 

on our mailing list. | hed de ‘ 
net 


falling Depa 
Wace sins: 
few York, 


Wer 


I've just had a chance to see the second 
issue of U@lc —Fantastic! I'd like to see 
more! Please include me on your mailing 
list. subscription list. or whatever. We 
need you here in New Orleans! 

Denise Centola 

Art Director, Sackett & Associates, 
Inc., 

Gretna, Louisiana 


Gentlemen: 


want to be permanently on your list ‘Tharks. 
ROBT. K.STERNER 


am standing on 
my head to get s 
copy... please .... 


ARIST DESIGNER 


ve 
935-3620 


ADDRESS 


Keep it going —in conservative days like 
this —we need screwy stuff like that 
Cheers. 


Charles M. Todaro 

Manager of Typography /Design 
Mack Printing Co. 

Easton, Pennsylvania 


WA25 DALANMPLS-DEXPOTT MICA 
DELANY i 


PHONE 
ae ae ae 
Dear Uéle Staff: 

Thank you for Volume One. Number 
Two of UGilc. It came in the morning 
mail and easily killed the rest of the day. 
I found the publication both visually, in- 
tellectually refreshing and stimulating. 
Would you happen to have an.extra copy 
of Volume One. Number One? I would 
love to see it. Keep up the good work. 

Sincerely, 

John B. Carmicheal 

Exhibits Specialist 

KANSAS State Historical Society 
Topeka, Kansas 


reer 
NY 10017 


rarreeive luv conieuw ro receive) [us 


(| Seger ral 
UB Bo. DRaweR S096 0 i 
B (Wwston-SALEM NC 27103 § OVEN! 


Dear Uéilc , 

lam hurt, upset, bewildered and 
perspiring over the fact that I had to 
stumble upon the third, third issue of 


Uélc . Just think how upset I would be if 


it had taken me longer... 
Whew! listen. ..do my head a favor, 
put me on your mailing list and listen I 


won't tell if you won't (please ) send me 


the Ist and end issues. 

That would make me smile alot. 
... holding my breath. 
Orit. : 
Designer/Illustrator 
New York City 


Gentlemen: 

I was introduced and bedazzled with 
your visual garden of delights and was 
wondering if I might subscribe to it. 
What's it take? 

Yours Truly. 

Dick Heath 
Los Angeles, California 


Dear Uc: 


You're my inspiration! Please keep 
coming. 

Sincerely. 
Thomas Hughes . 
Thomas Hughes & Associates 
Canton, Mass. 


AN this copy 
P of Uslc arid Would like to a 
receive future complimentary 
copies, please complete and 
mail us this coupon. © 


Te 
Dr. fl "i i 
ame 5 Tpays 


emt cs om as ws se ts os ve] 


Dear Sir: 
1 have just received a copy of the lst 
issue of the U@lc . 1 must congratulate 


you on having come out with a journal of 


this type to bridge the communication 
gap between the typographer and type 
designers internationally, 

Designers like us only know the pro- 
duct of the year-long thinking of desig- 
ners from other countries long after it’s 
out and not with the desired details. I 
hope Uélc will take up this task and 


project the recent-most developments in 


type designing as well as some neces- 
sary details. 

I would also suggest that your page 
“My best with letters” should cover de- 
signers from upcoming countries like 


India. working in the field of graphic de- 


sign and typography. Or why not cover 
these countries in your column “Young 
Typography’? In case you would like to 
invite my cooperation. I would be very 
glad to provide this to you. 

1am glad I have received the 1st is- 
sue. I am sending my subscription by 
separate mail after completing the 
necessary formalities. 

Yours sincerely, 


Yashwant Chaudhary, 


Communica/ corporate communications 


Bombay, India 


ULC 
€ INTERNATION 
YP! 
21 


ZL DONTMING TELLING You FINE, 
Foes TRAT YOUR MAGAZINE To 
Iaferaittsaltncen (Ns 
Le i a oh 
uty ENJOVED UE Last 
WARACTER IN MY THO ISSUES, 
IND IT SO INFORMATIVE T21! ) 
bs ur FORTE MY 
a 
BY GUTS cut THE 
SOGHO I, SO, mite THS NOTE 
lot OF FICANLLY LiKE re 


STE RENIN OW YO. 
Maus UST ARF/ARFS 


Dear Sir, 


dust read your latest issue of 
UGlc —& enjoyed it thoroughly. Any 
chance of receiving my own copy? 
Would appreciate it. Then I won't have 
to visit my brother-in-law. 

thanks. 
Rich Timmons 
Rich Timmons Associates 
Photocomposition & Mechanical 
Preparation 
Willow Grove, Pa. 


ps | 
Dear Friends: 

I have just read, fallen in love with 
and became instantly addicted to U&!c. 
Please send free copies whenever possi- 
ble and for as long as they last to me at 
my home address, and I will love you for 
life. 

Ms. Barbara Newman 
Curtis Brown, Ltd. 
New York City 


Sexe} 
Dear Mr. Lubalin, : 

dust received your second issue of 
Uc and they've got to be the best: look- 
ing tabloids in print. 

Since typography is a vital part of 
our curriculum (our students get it from 
the first day), we would like extra 
copies for distribution to the class. The 
first two issues are already dog-eared 
and will never make it to our permanent, 
library. 

In the meantime. let me congratulate 
you. your staff and contributors for let- 
ting us see such lively and stimulating 
stuff, 

Cordially, 

Philip Trachtman 

Director 

Art Institute of Philadelphia 
Philadelphia, Pa. 


SSS 

dust finished pouring over your sec- 
ond edition. Fantastic! We love it. It is 
now in the hands of our creative people. 
Congratulations. it is great. Enclosed is 
the form request for regular comp 


Mary A. Hickey 
Media Director 
Webb & Athey, Inc. 


fal fe if ol 


FH — me Too, ms 100, PLEMSE + 
as is WINN LiByD 
MITLe, Bown AND Compan? 
COL Oe DivitioN + 


Dear Sirs: 


I read your fabulous newsmagazine 
and really. really gained insight into 
the world of “type.” 

l especially enjoyed your article on 
XPO-1, the 1st Communications 
Exposition. Uc sure impressed me, 

Please put me on your mailing list for 
Iam a very interested artist, Teach 
me}! 

lam a student (full time) and a free 
lancer (all the time). ( My last year at 
Colorado Institute of Art). 

Thank you very much. 


Ray Sadowski 
Denver, Colorado 


Gentlemen; 

A fellow in the office gave me a copy 
of your second issue and I can't get over 
the great paper you've put together. 
Congratulations. we've been waiting for 
this for a long time. 

Good luck, I await your next issue 
with unguarded enthusiasm. 

Sincerely. 

Lee Habich 

Asst. Manager, Sales Promotion 
Beltone Electronics Corp. 
Chicago, Ill, 


* 


Gentlemen: 

A great publication! Uéic is one 
beautiful piece of work. I truly enjoyed 
reading each page of your second issue. 

I would really like to have a copy of 
the first issue(if there are any left), 

Thank you! 

Sincerely, 

Briam Bamrick 
Hoechst Pharmaceuticals, Inc. 
Somerville, New Jersey 


Gentlemen: 

Thanks to my-dear friend. Jack 
Kondrath. in Indianapolis. I am 
enjoying Volume Two. Number One 
1975. of U@lc. The International 
Journal of Typographics, a very 
stimulating. sophisticated newspaper. 

I would love to receive 
complimentary copies of U&@lc —Please 
put me on your mailing list — 

This medium —lettering art —is 
fascinating. and I would like to learn 
more about it. 

Thanx very much! 

Graphically yours, 

Harry Elliot 
Logansport, Indiana 


Recently. I got my hands on a copy of 
your paper. (Vol 2 No 1) I've never 
seen anything like iti! 

TERRIFIC! 
Keep it up!!! 

Sincerely, 

Terry Siemon Smith 

(free lance graphic designer and 
illustrator.) 

Granville, Ohio 


My Iibrara rs severely laden, tl 


Sond me nw. 2 13 
IMMEDIATLY {]/ “ews 


Stephen & Trewhle~ 

(0257 FiRsg 

Soeron menieas, 
41203 


Dear Sirs: 


What can I say? Your publication is 
fantastic. My only problem is that 
never really get. to read it. That's how 
great it is. By the time our issue gets 
into the art department. it has been 
confiscated by the very first person 
who sets eyes on it. This is why ] am 
forced to write to you begging to be put 
on your mailing list. 

Thanks ever so much for your time 
and effort, 

Love and kisses. 


by 
, 
2 
ne 


by 


WB, ocr : 


Dear Herb, 
USic is, how you say, “Ah so nice!" 
May it have a long life. 
Thanks, 
Milton Chun 
Graphic Design 
Honolulu, Hawaii